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”

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.

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

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 

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?

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

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

       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.

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.

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.

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.

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.

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

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 

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

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”

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

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

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 

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

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.

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

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.

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.

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.

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.

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.

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

By the end of the program students will be able to:

• 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.

This course is conceptualised to help students understand basic cognitive processes as they affect the individual. The course introduces students about different cognitive concepts such as perception, memory, attention, intelligence, language and thought in the various manifestations of the study of mind and behaviour. It introduces the basic framework on how psychologists scientifically study and understand the cognitive processes through various quantitative and qualitative methods of inquiry. The course also takes through the various applications on how the human mind works in different situations and in our everyday life such as the applications of human memory in the use of Artificial Intelligence (AI) and modern machines. Students will have the opportunity to examine these concepts from multiple psychological perspectives and to reflect upon the applicability of these concepts. This course will help the learner learn about

1. How people perceive, learn, represent, remember and use information.
2. To develop an understanding of the influence of behaviour, cognition, and states of consciousness and behaviour.
3. To appreciate the use of various models, theories and methods in understanding cognitive processes.

An introduction to the study of the human senses and perceptual processes. We will trace what happens to the physical stimulus as our sensory systems analyze it to produce complicated perceptions of the world around us. We will explore the fact that many complex perceptual phenomena draw upon explanations at the physiological, psychological, and cognitive levels. Topics on sensory perception in non-human animals may also be covered. Data gathered from psychophysical research and studies of both humans, and other animals will be discussed. The unit will review the mechanisms and principles of operation of vision, hearing, touch, taste and smell.

1. Differentiate between sensation and perception
2. Explain the process of vision and how people see colour and depth
3. Explain the basics of hearing, taste, smell, touch, pain, and the vestibular sense
4. Define perception and give examples of gestalt principles and multimodal perception

 Laboratory Demonstration: Illusion experiment, Depth Perception, Colour Blindness test, Dexterity test 

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

Origin and development of Prose to understand the different theories and original nature of Sanskrit literature.Mithralabha from Hithopadesha of Narayana panditha

To develop moral and ethics in the mind of the students

  Origin and development of prose and Introduction to different prose forms     

   Level of knowledge: Basic/conceptual.

Essential Reading :Mithralabha from Hithopadesha of Naraya Panditha

Visual Text : Shankaracharya

            Recommended Reading : -

1. "Mithralabha from Hitopadesha" of Narayana Panditha - Srivishwanathasharmana

2. Samskruta shityaparampare by Acharya Baladeva Upadyaya translated by Ramachandra shastri.

3. Sanskrit grammar by M.R. Kale.

4.Samskrutha sahithya parampare by Acharya baladeva upadyaya translatedby Ramachandra shastri.

5. Sanskrit grammar by M.R. Kale

CIA 2  Mid-semester examination   Evaluated for 50 marks

CIA 3  Wikipedia assignment     Evaluated for 20 marks

           End semester evaluated for 50 Marks

This paper has a few collections from the ‘Individual Poems’ of Avvaiyar and Kalamegam to show the students the ingenuity with the poets of the period mixing  intelligence with creativity. The unconventional and unorthodox views of life seen through theological eyes of Siddhas are included. It also introduces the power of oral tradition through a collection of interviews recorded and transcribed. These voices are from the marginalized communities which had no opportunity to voice out their pains and sorrows.. Students will be exposed to the art form of theatre through self experiece using internet resources like You Tube 

Poems of Avvaiyar, Kalamegam and Siddhas

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

 'Vai mozhi varalaru’ Ed: Vi.Arasu and Ki. ParthibhaRaja,Thannanaane Publications, Chennai, 2001

^{Meenakshisundaram T P,  A History of Tamil Literature, Annamalainagar, Annamalai University, 1965}

^{Varadarajan, Mu.  Thamil Illakkia Varalaru . New Delhi:Sahitya Akademi, 2008}

^{Gopalakrishnan.S., Pathinen Siddhar Varalaru, Chennai: Mullai Pathippagam, 2012}

^{Stephen,G (ed). Ayothidasar Sindhanaigal, Thirunelveli: St.Xavier’s College, 1999}

^{Theodore, Baskaran, Thamil Cinema Or Arimugam. Chennai: Kilakku Pathippagam, 2012}

^{Pavendan, Dhiravida Cinema, Chennai: Kayal Kavin Books, 2013}

With a total of 100 marks,

 50 Marks will come from Continuous Internal Assessment (CIA) and

the remaining 50 marks will come from end semester examination.

 While the end semester examination will be fully theory based the CIA will consist of Assignments, theatre production, Book review and other activities.

Course Description

This course is taught in the second year for students from different streams, namely BA, BSc

and BCom. If the first year syllabus is an attempt by the Department of English, Christ

University to recognize and bring together the polyphonic Indian voices in English and Indian

regional literatures in translation for the Additional English students of the first year, the

second year syllabus intends to take that project a little further and open up the engagement

of the students to texts from across the world. The syllabus - selection of texts will

concentrate on readings from South Asian, Latin American, Australian, Canadian, and Afro-

American. It will voice subaltern concerns of identity, gender, race, ethnicity and problems of

belongingness experienced by humanity all over the globe.

The syllabus will extend the concerns of nation and nationality and marginalization,

discussed within the Indian context to a more inclusive and wider global platform. We have

consciously kept out ‘mainstream’ writers and concentrated on the voices of the subalterns

from across the world. There is an implicit recognition in this project that though the aspects

of marginalization and the problems facing subalterns are present across cultures and

nations, the experiences, expressions and reflections are specific to each race and culture.

The course will address these nuances and specificities and enable our students to become

more aware and sensitive to life and reality around them. This will equip the students, who

are global citizens, to understand not just the Indian scenario, but also situate themselves

within the wider global contexts and understand the spaces they will move into and negotiate

in their future.

There is a prescribed text book Blends: Voices from Margins for the second year students,

compiled by the Department of English, Christ University and intended for private circulation.

Course Objectives

The course objectives are

 to enable students to look at different cultures through Literature

 to help students develop an understanding of subaltern realities and identity politics

 to inculcate literary sensibility/taste among students across disciplines

 to improve language skills –speaking, reading, writing and listening

 to equip the students with tools for developing lateral thinking

 to equip students with critical reading and thinking habits

 to reiterate the study skills and communication skills they developed in the previous

year and extend it.

TetsukoKuroyanagi: Tottochan: The Little Girl at the Window12

Diary of Anne Frank

Elie Wiesel "Night"

CIA 1: A written test for 20 marks. It can be an Open Book test, a classroom assignment, an

objective or descriptive test pertaining to the texts and ideas discussed in class.

CIA2: Mid-semester written exam for 50 works

CIA 3: This is to be a creative test/ project in small groups by students. They may do

Collages, tableaus, skits, talk shows, documentaries, Quizzes, presentations, debates,

charts or any other creative test for 20 marks. This test should allow the students to explore

their creativity and engage with the real world around them and marks can be allotted to

students depending on how much they are able to link the ideas and discussions in the texts

to the world around them.

Question Paper Pattern

Mid Semester Exam: 2 hrs

Section A: 4x5= 20

Section B: 2x15=30

Total 50

End Semester Exam: 3 hrs

Section A: 4 x 5 = 20

Section B: 2 x 15= 30

Total 50

• To introduce the students to the socio-political, religious and cultural aspects of America through literary texts
• To enable students to  read texts as products of  historical, political and cultural context
• To provide insights into different styles of writing over different centuries
• To encourage clear understanding of different genres and prosody/forms/literary devices.
• To enable learners to give their perspective on the texts prescribed
• To brainstorm learners to use their knowledge of History, Psychology, Sociology, etc to read literary works

Description: This unit will introduce American History and literature. An outline of important events would be briefed.

• The Navajo Creation Story
• John Smith- The New Land
• Anne Bradstreet – In Honour of that Highness

Text compiled for internal circulation

1. Abel, Darrel. American Literature, Volume 1: Colonial and Early National Writing, (ed)
2. Abel, Darrel. American Literature, Volume 2: Literature of the Atlantic Culture, (ed) Abel, Darrel.
3. Recent American Literature to 1930, (ed) Heiney and Downs Lenthiel H, Volume 3; Barron’s Educational Series
4. Recent American Literature After 1930, (ed) Heiney and Downs, Lenthiel H. Volume 4; Barron’s Educational Series
5. Literary History of The United States:  (ed) Spiller, Thorp, Johnson, Canby, Ludwig, Third Edition: Revised; Amerind Publishing Co. Pvt. Ltd.
6. The Heath Anthology of American Literature, Volume 1, Second Edition; (ed) Lauter, Yarborough et al, Heath
7. The Harper American Literature, Compact Edition; (ed) McQuade, Atwan et al, Harper and Row

Question Paper Pattern

Mid Semester Exam

 End Semester Exam

Section A – 15x4 = 60

Section B – 20x2 = 40

The prescribed texts could form the subject matter of CIA 1 as well as CIA 3.

In particular, the texts could be extended to meet CIA 3 requirements.  

French as second language for the Arts, Science and Commerce UG program

To perform a tribute: artist, work, you are going to…..

2.      Gonnet, Georges. Molière- Le Bourgeois Gentilhomme .Paris : Hachette, 1971

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

The detailed text book “Shambook” is a Khanda Kavya written by Jagdeesh Gupta. To improve the creative writing skills, Nibandh, Kahani and Kavitha lekhan are included.Bharathiya chitrakala is also a part of the syllabus to improve the knowledge aboutIndian paintings.

Khanda Kavya “Shambook” [Poetry] By:Jagdeesh Gupta. Pub: Raj Pal & Sons

Level of knowledge:Analitical    

1. Khanda Kavya”Shambook[Poetry] ByJagdeesh Gupta.Pub: Raj Pal & Sons

1. Sugam Hindi Vyakaran – Prof Vamsidhar and Dharampal Shastry, Siksha Bharathi, New Delhi
2. Essentials of Screen writing: The art, craft and business of film and television writing By: Walter Richard.
3. Writing and Script: A very short introduction By: Robinson, Andrew.

CIA-2(Mid sem examination)

CIA-3(wikipedia article creation)

End semester examination

Course Description: Language Kannada is offered to students of third Semester BA/B.Sc as Second language for fifty marks. The students who choose Kannada as second language are generally studied language Kannada at Pre University level. Samples of all genres of Kannada literature, are equally distributed to all four semesters. Students of this semester will study an anthology of Modern Kannada Poetry and an Autobiography of Laxman Gaikwad. This course prepares the students to understand the new era. At the dawn of the twentieth century, B.M. Srikantiah, regarded as the “Father of modern Kannada Literature”, called for a new era of writing original works in modern Kannada while moving away from archaic Kannada forms. Students will study modern Kannada poetry from B.M.Sri to Dalit poet Dr. Siddalingiah. An anthology of modern poetry is selected to understand the beauty of modern Kannada poets through their writings. Uchalya is an autobiographical novel that carries the memories of Laxman Gaikwad right from his childhood till he became an adult. Laxman Gaikwad took birth in a criminal tribe of India belonging to Orissa/ Maharastra. The original text is translated to Kannada by Chandrakantha Pokale.

Course Objectives:

The objective is to understand and appreciate poetry as a literary art form. Students will also analyse the various elements of Poetry, such as diction, tone, form, genre, imagery, symbolism, theme, etc. In the text Uchalya students will learn the elements of autobiography.

1. Kariheggadeya Magalu- B.M.Sri

2. Hunnime Ratri- Kuvempu

3. Anna Yagna-Bendre

4.Mankuthimmana Kagga-D.V.G

5.Ikkala- K.S. Narasimha Swamy

6. Kannad padgol- G.P.Rajarathnam

7.Hanathe hachchuttene- G.S.S

8.Adugemane Hudugi-Vaidehi

9. Nehru Nivruttaraguvudilla- Adgaru

10. Nanna Janagalu.-Siddalingaiah

2. Kannada Sahitya Charithre- Volumes 1-4, Editor: G. S. Shivarudrappa, Prasaranga, Bangalore Univeristy.

3. Hosagannada Kavitheya Mele English Kavyada Prabhava- S. Ananthanarayana

4. Hosagannadada Arunodaya- Srinivasa  Havanuru

2. Kannada Sahitya Sameekshe- G. S. Shivarudrappa

3. Bhavageethe- Dr. S. Prabhushankara

4. My Experiments with Truth- M.K. Gandhi

5. Ouru Keri- Siddalingaiah

This course builds from content learned in MUS231 Music Foundations II. Music is a vehicle of expression that allows one to communicate experience directly. An individual situated within any culture can use their understanding of harmony to articulate their unique worldview to themselves and others. The inherent connections between western tonal harmony, neurology, and physiology grant students a means to explore and articulate their own worldview both musically and psychologically as such knowledge aids to increase emotional intelligence.

Course Objectives

• Articulate the connections between musical, neurological, and physiological emotional responses of people.
• Compose in four parts from a melody or a bass line (with or without lyrics).
• Provision of a toolbox of musical techniques for exploring emotional psychology and self-expression.
• Application of techniques learned to the development of own composition.

Introduction, Overview and Outline.