BEST PRACTICES I

• 1. TITLE OF THE PRACTICE
  VAGGEYAKARA’S DAY
  2. OBJECTIVES OF THE PRACTICE
• South Indian Carnatic Music is enriched through the compositions of great innumerable vaggeyakaras which has strengthened its stability and survival in this modern era. In order to pay our homage to those, vaggeyakaras’ day is performed on their birth/anniversary days in the campus.
• To create awareness about different composers, their life history and tradition,familiarity with the rare compositions by making students practice and perform.
  3. THE CONTEXT
• Authentic approved dates of the composers are taken into account for the celebration. A birth day or the anniversary is celebrated. List of the names of the eminent vaggeyakaras are given in the college calendar for the students.
  4. THE PRACTICE
• On the day of celebration eminent speakers are invited to deliver lectures about the composer Rare and popular compositions of the composer are taught to the students for thematic presentations Seminars /workshops are also arranged for a wider understanding of the composers. On this occasion,team teaching is adopted .
• Even though it is common in many Music colleges to celebrate Thyagaraja aradana day (thai pagula panchami) by singing his Pancharatna keertana, it has a special practice of celebrating Tyagaraja day on each month on sukla panchami.
• This is practiced to honour the esteemed composer whose name the institution bears.
  5. EVIDENCE OF SUCCESS
• This practice has influenced the students to enrich their professional presentations on various Occasions

2     Best Practice II

• 1. TITLE OF THE PRACTICE
• REGULAR LISTENING OF LIVE CONCERTS
  2. OBJECTIVES OF THE PRACTICE
• Continuous assessment of the students in their involvement, understanding and ability to express their knowledge through listening of live
  3. THE CONTEXT
• A great learning experience is gained regardless of the levels of students. The faculty design and set the goals and objectives of the listening exercise, based on the credentials and level of the students.
  4. THE PRACTICE
• Many students at the beginning are not well exposed to the music and its aesthetic sense. At the beginning, they attend lots of concert in which they understand basic aspects and ethics of performing a music concert.
• Later in the course of their study students evaluate the concerts with its technical aspects like Ragas Tala, and Manodharama aspects (improvisation) .
• When they are confident enough in this process of with perfect identification they are persuaded to render songs in those ragas which are familiar to them
  in the course of their continuous assessment.
  5. EVIDENCE OF SUCCESS
• This process of involvement understanding and presentations moulds astudent who is totally ignorant of music into a good musician as well as good Rasika (listener).
• Prominent musicians of South India are alumni of the institution