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M-A in Music at Swami Ramanand Teerth Marathwada University
Nanded, Maharashtra
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About the Specialization
What is Music at Swami Ramanand Teerth Marathwada University Nanded?
This M.A. Music program at Swami Ramanand Teerth Marathwada University, Nanded, focuses on a comprehensive study of Indian music, encompassing its rich history, theory, aesthetics, and practical performance. It delves into both Hindustani and Carnatic traditions, preparing students for advanced musical pursuits. The program aims to foster deep theoretical understanding alongside refined practical skills, reflecting the growing appreciation for classical and folk music in India. It caters to the demand for skilled musicians, educators, and researchers.
Who Should Apply?
This program is ideal for graduates holding a B.A. with Music or a B.Music degree, seeking to deepen their understanding and expertise in musical arts. It is suitable for aspiring professional musicians, vocalists, instrumentalists, music educators, and researchers. Individuals passionate about preserving and promoting Indian classical music, and those looking to contribute to academic scholarship or performance, will find this program rewarding. It also appeals to those aiming for careers in cultural management or music journalism.
Why Choose This Course?
Graduates of this program can expect to pursue diverse career paths in India as professional classical musicians, music teachers in schools and universities, cultural event managers, music therapists, and sound engineers. They can also become independent artists, composers, or music journalists. Entry-level salaries range from INR 2.5 LPA to 5 LPA, with experienced professionals earning significantly more. The program prepares students for NET/SET examinations, enabling academic careers, and positions them for roles in various government and private cultural institutions.
Student Success Practices
Foundation Stage
Master Core Musical Concepts- (Semester 1-2)
Dedicate significant time to understanding the foundational theories of Indian music, including ancient music history, aesthetics, ragas, and talas. Regularly review class notes, consult standard texts by experts like Bhatkhande and Sharangdev, and participate in discussions to clarify doubts. Build a strong theoretical base.
Tools & Resources
University library, Sangeet Natak Akademi resources, online classical music archives, peer study groups
Career Connection
A solid theoretical foundation is crucial for advanced studies, teaching, research, and composition, ensuring intellectual depth in any musical career.
Consistent Practical Riyaz (Practice)- (Semester 1-2)
Establish a daily rigorous riyaz routine for your chosen vocal or instrumental discipline. Focus on improving technical proficiency, voice/instrument control, breath management, and mastering prescribed ragas and compositions. Seek regular feedback from gurus and peers to identify areas for improvement.
Tools & Resources
Dedicated practice space, metronome, tanpura app, recordings of masters, personal practice diary
Career Connection
Exceptional performance skills are paramount for a career as a professional musician, performer, or educator, directly impacting opportunities and recognition.
Engage in Peer Learning and Small Performances- (Semester 1-2)
Form study circles with fellow students to discuss theoretical aspects, share learning resources, and practice together. Seek opportunities for informal performances within the department or university events to gain early stage exposure, build confidence, and receive constructive criticism.
Tools & Resources
Departmental common rooms, university cultural clubs, student performance platforms
Career Connection
Networking with peers can lead to future collaborations, and early performance experience builds stage confidence essential for professional careers.
Intermediate Stage
Dive into Research Methodology- (Semester 3)
Actively engage with the Research Methodology course, focusing on identifying research gaps in music, formulating research questions, and understanding data collection and analysis techniques relevant to musicology. Start exploring potential dissertation topics early and consult faculty mentors.
Tools & Resources
University research guides, academic journals on music, Zotero/Mendeley for citation management, faculty guidance
Career Connection
Essential for careers in music research, academia (NET/SET), and developing critical analytical skills valuable in any professional role.
Public Performance and Presentation Skills- (Semester 3)
Actively seek out formal and informal public performance opportunities within and outside the university. Work on refining stage presence, microphone techniques, engaging with the audience, and building a varied repertoire. Document your performances through recordings.
Tools & Resources
University cultural committees, local music societies, department performance platforms, audio/video recording equipment
Career Connection
Crucial for becoming a successful performing artist, music educator, or any role requiring strong public speaking and presentation.
Explore Music Electives and Interdisciplinary Studies- (Semester 3)
Carefully choose elective subjects that align with your long-term career interests, whether it''''s music therapy, ethnomusicology, or western musicology. Engage deeply with these subjects to broaden your perspective and develop niche skills. Explore how music interacts with other disciplines.
Tools & Resources
Elective course materials, specialized online courses, guest lectures, inter-departmental workshops
Career Connection
Specialization through electives creates unique skill sets, opening doors to diverse career paths beyond traditional performance, such as music therapy or academic roles focusing on interdisciplinary studies.
Advanced Stage
Meticulous Dissertation/Project Completion- (Semester 4)
Dedicate consistent effort to your dissertation or project work. Ensure rigorous research, clear articulation of ideas, and adherence to academic writing standards. Work closely with your supervisor, incorporating feedback diligently, and prepare thoroughly for the final viva-voce examination.
Tools & Resources
University research lab/resources, academic writing guides, supervisor''''s expertise
Career Connection
A well-executed dissertation is a significant academic achievement, enhancing credentials for Ph.D. admissions, research positions, and demonstrating advanced analytical skills to potential employers.
Network with Industry Professionals- (Semester 4)
Attend music festivals, workshops, and seminars where established musicians, musicologists, and industry professionals are present. Actively network, seek mentorship, and understand current trends in the Indian music industry. Explore opportunities for collaborations or apprenticeships.
Tools & Resources
Professional music associations (e.g., Sangeet Natak Akademi events), LinkedIn, cultural event calendars
Career Connection
Networking can open doors to performance opportunities, teaching positions, research collaborations, and entrepreneurial ventures in the music industry.
Develop Professional Portfolio and Career Plan- (Semester 4)
Compile a professional portfolio including recordings of your best performances, research papers, and any publications. Develop a clear career plan, whether it''''s for higher studies, performance, teaching, or entrepreneurship. Prepare for auditions, interviews, or academic entrance exams.
Tools & Resources
Professional website/social media, high-quality audio/video recording gear, career counseling services, resume building workshops
Career Connection
A strong portfolio and well-defined career strategy are essential for successfully transitioning from academia to a professional music career, aiding in placements and personal branding.
Program Structure and Curriculum
Eligibility:
- B.A. with Music as one optional subject OR B.Music OR equivalent examination from a recognized university.
Duration: 2 years / 4 semesters
Credits: 96 Credits
Assessment: Internal: 20%, External: 80%
Semester-wise Curriculum Table
Semester 1
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| MMUCC-I | History of Indian Music (Ancient Period) | Core | 4 | Origin of Music and Vedic Period, Ancient Grammars and Musical Forms, Jatis and Moorchana System, Temple Music and Prabandha, Natyashastra and its Musical Aspects |
| MMUCC-II | Aesthetics and Principles of Music | Core | 4 | Definition and Scope of Musical Aesthetics, Rasa Theory in Indian Music, Nada Brahma and Concept of Dhwani, Shruti, Swara, and Sangeet Ratnakar''''s Contribution, Philosophical Basis of Indian Music |
| MMUCC-III | Study of Prescribed Ragas | Core | 4 | Classification of Ragas (Janya, Janaka), Detailed Study of selected Ragas (e.g., Yaman, Bhairav, Kedar), Alap, Badhat, Taan and Sancharis, Raga Lakshanas and Characteristics, Understanding of Raga Mood and Emotion |
| MMUOC-I | Indian Folk Music | Elective | 4 | Introduction to Indian Folk Music Traditions, Regional Folk Forms and their Characteristics, Folk Instruments and their Usage, Social and Cultural Significance of Folk Music, Comparison with Classical Music Elements |
| MMUPR-I | Advanced Practical (Vocal/Instrumental) | Practical | 8 | Raga Alapana and Vistaar, Compositions (Bandishes/Gats) in prescribed Ragas, Development of Taans and Bol-Baant, Improvisation Techniques, Voice/Instrumental Technique Development |
Semester 2
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| MMUCC-IV | History of Indian Music (Medieval Period) | Core | 4 | Music during Delhi Sultanate and Mughal Period, Amir Khusro and his Contributions, Evolution of Dhrupad and Khyal Forms, Bhakti Movement and Sangeet, Origin and Development of Carnatic Music |
| MMUCC-V | Indian Musicology and Notation Systems | Core | 4 | Concepts of Tala System and Laya, Ten Pranas of Tala, Swaras, Shruti and their Application, Bhatkhande and Paluskar Notation Systems, Merits and Demerits of Notation Systems |
| MMUCC-VI | Study of Prescribed Tala and Layakari | Core | 4 | Detailed Study of selected Talas (e.g., Teen Taal, Jhap Taal), Layakari: Dugun, Tigun, Chaugun, Practical Application of Talas in Compositions, Various Gats and Tukdas in Talas, Tala Systems in Carnatic Music |
| MMUOC-II | Western Musicology | Elective | 4 | Introduction to Western Music Scales and Harmony, Major Periods of Western Music (Baroque, Classical, Romantic), Study of Orchestral Instruments, Prominent Western Composers, Basic Concepts of Western Notation |
| MMUPR-II | Advanced Practical (Vocal/Instrumental) | Practical | 8 | Presentation of Ragas with Advanced Techniques, Complex Bol-Baant and Sargam Exercises, Advanced Gat and Drut Compositions, Creative Improvisation and Exploration, Repertoire Building and Articulation |
Semester 3
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| MMUCC-VII | History of Indian Music (Modern Period) | Core | 4 | Impact of British Rule on Indian Music, Development of Gharana System, Music Conferences and Revival Movements, Modern Composers and Institutions, Music Education in Contemporary India |
| MMUCC-VIII | Research Methodology in Music | Core | 4 | Types of Research in Musicology, Formulating Research Questions and Hypothesis, Data Collection Methods (Interviews, Archival Research), Thesis Writing and Documentation, Research Ethics and Plagiarism |
| MMUCC-IX | Comparative Study of Ragas and Talas | Core | 4 | Comparative Analysis of Similar Ragas (e.g., Bhairav vs. Kalingda), Hindustani and Carnatic Raga Systems Comparison, Comparative Study of Tala Structures, Cross-cultural Musical Analysis, Raga Identification and Classification Challenges |
| MMUOC-III | Music Therapy | Elective | 4 | Introduction to Principles of Music Therapy, Therapeutic Applications of Indian Ragas, Clinical Uses of Music for Wellness, Physiological and Psychological Effects of Music, Case Studies in Music Therapy |
| MMUPR-III | Advanced Practical (Vocal/Instrumental) and Stage Performance | Practical | 8 | Public Performance Preparation and Presentation, Stage Presence and Audience Engagement, Concert Repertoire Selection and Execution, Working with Accompanists, Performance Evaluation and Feedback |
