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BPA in Layavadya Mridanga at University College of Fine Arts, Mysore
Mysuru, Karnataka
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About the Specialization
What is Layavadya (Mridanga) at University College of Fine Arts, Mysore Mysuru?
This Layavadya (Mridanga) program at the University College of Fine Arts, Mysuru, focuses on the deep theoretical and practical understanding of Carnatic percussion, specifically the Mridanga. It encompasses the intricate rhythmic systems of South Indian classical music. The program prepares students for careers as professional Mridanga artists, accompanists, and educators, addressing the growing demand for skilled percussionists in India''''s vibrant classical music scene.
Who Should Apply?
This program is ideal for aspiring musicians with a passion for Carnatic percussion, particularly Mridanga. It suits fresh 12th-grade graduates with a foundational understanding of music or those who have studied Layavadya, as well as working professionals looking to formalize their skills or specialize. Career changers transitioning into professional performing arts, especially those with prior rhythmic training, will find this program deeply enriching and career-focused.
Why Choose This Course?
Graduates of this program can expect diverse career paths as concert accompanists, solo performers, music teachers, composers, and researchers in India. Entry-level salaries can range from INR 2-4 LPA for performers and teachers, with experienced artists earning significantly more, especially with national and international performances. Growth trajectories include leading ensembles, artistic direction, and establishing music schools, aligning with certifications from prestigious cultural academies.
Student Success Practices
Foundation Stage
Master Foundational Rhythmic Patterns- (Semester 1-2)
Dedicate daily practice time to rigorously perfect basic strokes (bols), sarali varisai, and initial tala patterns. Focus on developing clear tone, evenness, and speed control. Document practice sessions and seek regular feedback from instructors.
Tools & Resources
Metronome apps (e.g., Metronome by Soundbrenner), Basic percussion theory books, Recordings of foundational Mridangam artists, Peer practice groups
Career Connection
A strong foundation is crucial for advanced techniques and improvisation, directly impacting a performer''''s ability to accompany and perform solo in professional settings.
Immerse in Carnatic Music Theory- (Semester 1-2)
Beyond Layavadya-specific theory, actively engage with the history and musicology courses. Understand the structure of ragas and kritis, and how mridangam complements vocal and instrumental music. Attend classical concerts to observe theory in practice.
Tools & Resources
Carnatic music theory textbooks, Online resources like e-kalavishkar, YouTube channels dedicated to Carnatic music analysis, Local sabha concert schedules
Career Connection
A holistic understanding of Carnatic music makes one a more versatile and sought-after accompanist, capable of interpreting nuances and collaborating effectively.
Develop Active Listening & Solkattu- (Semester 1-2)
Practice active listening to diverse Carnatic percussionists and vocalists. Simultaneously, develop strong solkattu (oral rhythmic recitation) skills. This enhances internal rhythm perception and improves the ability to translate rhythmic ideas to the instrument.
Tools & Resources
Recordings of master Mridanga artists, Konnakkol lessons, Rhythmic exercises, Practicing solkattu while listening to music
Career Connection
Strong aural skills and solkattu are fundamental for improvisation, anticipating melodic movements, and effective rhythmic communication in ensemble performances.
Intermediate Stage
Focus on Thani Avartanam & Compositions- (Semester 3-5)
Begin structured practice of Thani Avartanam (solo rhythmic improvisation) by learning and adapting traditional compositions (korvais, mohras). Experiment with different jatis and gatis, recording and analyzing performances to identify areas for improvement.
Tools & Resources
Advanced Mridangam composition books, Recordings of Thani Avartanams by legendary artists, Dedicated practice rooms
Career Connection
Mastery of Thani Avartanam is a hallmark of a professional Mridanga artist, essential for solo performances and commanding respect as an accompanist.
Seek Collaborative Performance Opportunities- (Semester 3-5)
Actively seek out opportunities to accompany vocalists, instrumentalists, and dancers within the college and local community. Participate in student ensembles, workshops, and informal performances to gain real-world experience.
Tools & Resources
College cultural clubs, Local music academies, Student performance groups, Open mic events, Online collaboration platforms
Career Connection
Practical collaboration builds essential ensemble skills, adaptability, and stage presence, crucial for a professional performing career.
Explore Diverse Percussion & Rhythmic Styles- (Semester 3-5)
While specializing in Layavadya, explore other Indian and world percussion styles. Understand how different rhythmic traditions approach laya and tala. This broadens perspective and can inform innovative approaches to Mridangam playing.
Tools & Resources
Online tutorials for tabla, ghatam, kanjira, or world percussion, Attending fusion concerts, Ethnographic music resources
Career Connection
Versatility in different rhythmic styles opens avenues for cross-genre collaborations, fusion music projects, and a broader career scope beyond traditional Carnatic settings.
Advanced Stage
Cultivate Unique Artistic Voice & Concert Readiness- (Semester 6-8)
Refine individual playing style through extensive practice, experimentation with complex rhythmic structures, and creating original compositions. Prepare a diverse repertoire for full-length concerts, focusing on presentation, stage presence, and audience engagement.
Tools & Resources
Personal mentorship, Advanced practice techniques, Video analysis of own performances, Mock concert simulations, Professional sound equipment
Career Connection
Developing a distinct artistic identity is key to standing out in the competitive world of performing arts and attracting concert opportunities and patronage.
Develop Professional Networking & Marketing Skills- (Semester 6-8)
Actively network with established artists, concert organizers, and cultural patrons. Learn about self-promotion, creating a professional portfolio (performance videos, bio), and using social media effectively for artist branding. Attend industry seminars and festivals.
Tools & Resources
Professional social media platforms (LinkedIn, Instagram for artists), Personal website/portfolio, Artist management workshops, Music festivals and conferences
Career Connection
Effective networking and self-marketing are indispensable for securing performance engagements, collaborations, and building a sustainable career as a professional musician.
Master Teaching & Entrepreneurial Aspects- (Semester 6-8)
Practice teaching techniques, develop personalized lesson plans, and mentor junior students. Explore the entrepreneurial side of music by understanding event management, funding applications, and the business of running a music school or performance troupe.
Tools & Resources
Pedagogy resources, Business planning templates, Grant application guidelines, Mentorship from experienced teachers/entrepreneurs in music
Career Connection
These skills are vital for establishing a successful teaching practice, managing one''''s own artistic ventures, and contributing to the propagation of the art form, providing stable income streams.
Program Structure and Curriculum
Eligibility:
- Pre-University Examination / 12th Standard from State Board or equivalent with a minimum of 40% marks in aggregate. For Fine Arts candidates, they must have studied Music/Dance/Layavadya/Drama as one of the optional subjects at the PUC level or equivalent. For others, they must qualify the aptitude test and interview conducted by the Department of Studies in Performing Arts.
Duration: 4 years / 8 semesters
Credits: 184 Credits
Assessment: Internal: undefined, External: undefined
Semester-wise Curriculum Table
Semester 1
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 101T | History of Indian Music | Core (Theory - Common) | 3 | Ancient Indian Music Traditions, Medieval Period Musical Developments, Modern Period Contributions, Evolution of Raga and Tala, Music in Karnataka context |
| BPA 102T | Layavadya I (Theory) | Core (Theory - Specialization Specific) | 3 | Nada, Sruti, Laya, Tala Fundamentals, Tala Dasha Pranas and Shadangam, Solkattu and Konnakkol introduction, Basic rhythmic terminology, Concept of Avartanam |
| BPA 103P | Layavadya I (Practical) | Core (Practical - Specialization Specific) | 4 | Basic Mridanga Strokes and Techniques, Sarali Varisai on Mridanga, Practice of Adi Tala patterns, Rupaka Tala initial exercises, Tisra Jati exercises, Simple Solkattu practice |
| BPA 104T | Environmental Studies | Ability Enhancement Compulsory Course | 2 | Concept of Environment and Ecosystems, Biodiversity and its Conservation, Environmental Pollution Causes and Control, Natural Resources Management, Sustainable Development Principles |
| GE-1 | Generic Elective - I | Elective (Generic) | 4 | |
| OE-1 | Open Elective - I | Elective (Open) | 6 |
Semester 2
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 201T | Musicology | Core (Theory - Common) | 3 | Elements of Music: Pitch, Rhythm, Timbre, Sound and Resonance principles, Melody and Harmony basics, Form and Structure in Music, Introduction to Orchestration |
| BPA 202T | Layavadya II (Theory) | Core (Theory - Specialization Specific) | 3 | Chatusra, Tisra, Khanda, Misra, Sankeerna Jatis, Suladi Sapta Talas detailed study, Basic understanding of Gati Bhedas, Tala Praana concepts, Advanced Solkattu patterns |
| BPA 203P | Layavadya II (Practical) | Core (Practical - Specialization Specific) | 4 | Adi Tala compositions and variations, Rupaka Tala intricate patterns, Misra Chapu Tala practicals, Khanda Chapu Tala practicals, Introduction to Mora and Korvai, Mridanga accompanying simple Kritis |
| AECC-2 | Indian Constitution | Ability Enhancement Compulsory Course | 2 | Preamble and Fundamental Rights, Directive Principles of State Policy, Structure of Union Legislature, Functions of State Legislature, Judiciary System in India |
| GE-2 | Generic Elective - II | Elective (Generic) | 4 | |
| OE-2 | Open Elective - II | Elective (Open) | 6 |
Semester 3
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 301T | Aesthetics of Performing Arts | Core (Theory - Common) | 3 | Concepts of Beauty and Art, Rasa Theory and its application, Bhava and Vibhava, Aesthetic Experience in Performance, Artistic Expression and Interpretation |
| BPA 302T | Layavadya III (Theory) | Core (Theory - Specialization Specific) | 3 | Gati Bhedas in detail, Jati Bhedas and their structures, Tala Angas and their permutations, Introduction to Desi Talas, Understanding Chanda Talas, Tala Prastara techniques |
| BPA 303P | Layavadya III (Practical) | Core (Practical - Specialization Specific) | 4 | Khanda Chapu compositions, Misra Chapu rhythmic patterns, Sankeerna Chapu practicals, Developing Mohra and Korvai sequences, Laya Vinyasa exercises, Mridanga accompaniment for varnams |
| SEC-1 | Stagecraft & Technical Aspects of Performing Arts | Skill Enhancement Course | 2 | Stage Design and Setup, Lighting Techniques for Performance, Basic Sound Engineering for Live Arts, Costume and Make-up for Artists, Introduction to Production Management |
| GE-3 | Generic Elective - III | Elective (Generic) | 4 | |
| OE-3 | Open Elective - III | Elective (Open) | 6 |
Semester 4
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 401T | Theatre & Performance Studies | Core (Theory - Common) | 3 | History of Indian Theatre, Major Indian Theatre Traditions, Introduction to Western Theatre, Performance Analysis Methods, Basics of Directing and Acting |
| BPA 402T | Layavadya IV (Theory) | Core (Theory - Specialization Specific) | 3 | Mridanga Parampara and Gharanas, Contributions of Mridanga Stalwarts, Mridanga Making Process, Maintenance of Mridanga, Acoustics of Percussion Instruments |
| BPA 403P | Layavadya IV (Practical) | Core (Practical - Specialization Specific) | 4 | Adi Tala Puranas and variations, Tisra Jati Puranas practice, Sankeerna Jati Puranas, Introduction to Thani Avartanam concepts, Concert Etiquette and Presentation, Advanced Laya Vinyasa |
| SEC-2 | Folk Arts of Karnataka | Skill Enhancement Course | 2 | Traditional Folk Dances of Karnataka, Folk Music Forms and Instruments, Indigenous Folk Theatre Traditions, Ritual Arts and their Significance, Preservation of Folk Arts |
| GE-4 | Generic Elective - IV | Elective (Generic) | 4 | |
| OE-4 | Open Elective - IV | Elective (Open) | 6 |
Semester 5
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 501T | History of Performing Arts | Core (Theory - Common) | 4 | Ancient Indian Performance Traditions, Evolution of Classical Arts in India, Folk and Tribal Performance Forms, Modern Trends in Performing Arts, Global Performing Arts overview |
| BPA 502T | Layavadya V (Theory) | Core (Theory - Specialization Specific) | 4 | Advanced Tala Concepts and Applications, Complex Korvai Structures and Composition, Intricate Laya Vinyasa Techniques, Study of Mathya Talas, Detailed analysis of Triputa Talas |
| BPA 503P | Layavadya V (Practical) | Core (Practical - Specialization Specific) | 4 | Advanced Thani Avartanam practice, Tisra and Khanda Nadai variations, Misra Nadai rhythmic patterns, Sankeerna Nadai applications, Complex Rupaka Tala compositions, Mastery of Kanda Chapu |
| DSE-1 | Tala and Laya Concepts | Discipline Specific Elective (Theory) | 3 | In-depth Tala Dasha Pranas, Advanced Graha, Jati, Kala, Laya concepts, Understanding Yati and Gati Bhedas, Detailed study of Desi Talas, Exploration of Chanda Talas |
| SEC-3 | Ensemble Playing Techniques | Skill Enhancement Course (Practical) | 3 | Accompaniment for Vocal Music, Accompaniment for Instrumental Music, Accompaniment for Dance Forms, Group Performance and Coordination, Use of Microphones and Sound Mixing |
| OE-5 | Open Elective - V | Elective (Open) | 6 |
Semester 6
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 601T | Research Methodology in Performing Arts | Core (Theory - Common) | 4 | Fundamentals of Research Design, Methods of Data Collection in Arts, Qualitative Research Approaches, Quantitative Research Techniques, Academic Report Writing and Ethics |
| BPA 602T | Layavadya VI (Theory) | Core (Theory - Specialization Specific) | 4 | History of Percussion Instruments Globally, Evolution of Mridanga and its role, Konnakol as a rhythmic language, Concepts of Jugalbandi, Cross-cultural Rhythms and influences |
| BPA 603P | Layavadya VI (Practical) | Core (Practical - Specialization Specific) | 4 | Accompaniment for Pallavi, Anupallavi, Charanam, Muktayi and its improvisational aspects, Thani Avartanam for diverse Talas, Performance in concert settings, Advanced rhythmic improvisation |
| DSE-2 | Percussion Ensemble & Composition | Discipline Specific Elective (Practical) | 3 | Rhythmic Composition Techniques, Ensemble Coordination and Dynamics, Group Improvisation in Percussion, Tala Vaadya Katcheri concepts, Fusion Music with Percussion |
| SEC-4 | Teaching Methodology in Layavadya | Skill Enhancement Course (Theory) | 3 | Pedagogical Principles in Music, Lesson Planning and Curriculum Development, Student Assessment and Feedback, Effective Teaching Aids, Classroom Management for Music Education |
| OE-6 | Open Elective - VI | Elective (Open) | 6 |
Semester 7
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 701T | Layavadya VII (Theory) | Core (Theory - Specialization Specific) | 4 | Advanced Tala System Theories, Study of Rare Talas, Laya in Different Musical Forms, Percussion in World Music Context, Contemporary Percussion Techniques |
| BPA 702P | Layavadya VII (Practical) | Core (Practical - Specialization Specific) | 4 | Advanced Thani Avartanam in Complex Talas, Creative Rhythmic Improvisation, Audience Engagement Strategies, Solo Performance Mastery, Advanced Accompaniment Skills |
| DSE-3 | Applied Acoustics & Percussion Instruments | Discipline Specific Elective (Theory) | 4 | Sound Production Principles, Resonance and Frequency Analysis, Physics of Musical Instruments, Material Science in Mridanga Making, Sound Engineering for Percussion |
| DSE-4 | History of World Percussion | Discipline Specific Elective (Theory) | 4 | African Percussion Traditions, Latin American Percussion Rhythms, Middle Eastern Percussion Instruments, East Asian Percussion Forms, Evolution of Fusion Percussion |
| SEC-5 | Digital Music & Sound Production (with percussion focus) | Skill Enhancement Course (Practical) | 4 | Digital Audio Workstations (DAWs), MIDI Programming and Applications, Microphone Techniques for Percussion, Recording and Mixing Percussion, Mastering and Digital Effects |
Semester 8
| Subject Code | Subject Name | Subject Type | Credits | Key Topics |
|---|---|---|---|---|
| BPA 801T | Layavadya VIII (Theory) | Core (Theory - Specialization Specific) | 4 | Role of Mridanga in Carnatic Music, Modern Trends in Mridangam Playing, Collaboration with Other Art Forms, Career Opportunities in Percussion, Future of Layavadya |
| BPA 802P | Layavadya VIII (Practical) | Core (Practical - Specialization Specific) | 4 | Grand Thani Avartanam Performance, Creative Compositions and Arrangements, Performance Mastery and Presentation, Ensemble Leadership Skills, Advanced Improvisation and Variations |
| DSE-5 | Project Work/Internship | Discipline Specific Elective (Project) | 8 | Research Proposal Development, Data Analysis and Interpretation, Performance Project Execution, Internship Report Writing, Presentation and Viva-Voce |
| SEC-6 | Entrepreneurship in Performing Arts | Skill Enhancement Course (Theory) | 4 | Developing Business Plans for Artists, Marketing and Promotion Strategies, Funding and Grant Applications, Event Management for Performances, Artist Management and Contracts |
