AMS Easy Methods 2007 CD - Teaching and Learning Methods

To teach and learn Indian classical music
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msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#601 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Chi. Sow. Dr. Prasanna dear,

Blessings and hearty congratulations to you on your amazing achievements as a true and honest teacher in our Karnataka Music.

To tell the fact, as per our history, Sonthi Venkataramanaiah, the teacher of Thyagaraja the Great had taught him music within only one year. Only after five years of my retirement in 2001, in my introspection occurred by the grace of the
Almighty I was blessed by this novel and logical method of learning music within one year and from then onwards I have been using this method and getting amazing results within a very short time even without singing or playing Violin myself for more than 5%. In this novel and logical method of learning music the criteria is becoming able to sing creative music, the so called Manodharma Sangita, hardly within one year only even before learning the first Kriti. I have also given many of its details in these articles to be helpful to the interested teachers. But, as all our parasitic stalwarts are of performers' perspective only but not of teachers' perspective at all they all are for receiving degrees, Doctorates, employments, awards, titles and foreign tours only but not to truthfully and honestly help our own kids and their parents. amsharma

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#602 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In continuation to the post No.592 I feel happy to state that my disciple Chi. Sow. Krishnaveni (+91 93924 09317) who also works as a Music-teacher in Telangana Residential Educational Institutions' Society, had, in the meantime, not only learnt more than 25 Kritis along with Niraval, Svarakalpana & Ragalapana fully on her own but also became able to train her school-student-kids demonstrate complex rhythmical exercises very easily and efficiently. The respective links are furnished hereunder.

In this novel and very strict logical system of learning music while the true teacher's role should not exceed more than 5% the student's role exceeds more than 95%. While the aspirants in the old and illogical system of teaching music depend wholly upon the teacher and merely imitating the teacher in learning either vocal or instrument, in this novel method of learning, the true teacher mostly initiates the student proceed further and further basing upon his/her own instinctive abilities and the written, audio and video material prepared for this purpose working for more time on his/her own. In this logical method, at the first instance, the kids are initiated to deal with the complex rhythmical exercises basing upon their instinctive rhythmical abilities which gradually makes them sing mathematical and creative Svarakalpana, the basic criteria of this system. To tell the truth, even though many are not aware, while less than 20% only become professionals in music in the elongated and illogical old method more than 80% can become professionals in the novel and logical method hardly within a couple of years. But, most unfortunately, our highly egoistic and selfish Sangitakalanidhis, who are of more performing perspective than teaching perspective are not at all willing to make benefit either to the aspirants or their parents by saving their time, energy and money by following this logical system of learning music. amsharma

https://youtu.be/NAm2R7l6yoA

https://youtu.be/DLICz5VPmmw

https://youtu.be/r1O4M0BAyfw

https://youtu.be/AfywxcAbBas

https://youtu.be/YkVAcue4qPc

https://youtu.be/bVkAAhbo5T8

https://youtu.be/-Mcg43Z2MQo

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#603 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In continuation to the last post, now, I hereunder furnish the respective Youtube links in which the students of my disciple, Chi. Sow. Krishnaveni have very efficiently and successfully rendered the next rhythmical exercises for the benefit of the students (not for the cheaters). amsharma

https://youtu.be/afPTVy-Igko

https://youtu.be/SYiO5EXYfSA

https://youtu.be/w8Dh9tL2Bio

https://youtu.be/BkIKyT6y_zQ

https://youtu.be/2WnD2uapyrU

https://youtu.be/Anvxk_aVNBI

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#604 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Only lesson of music could either be given or taken but sense of music could neither be taught nor learnt. To make it easily understandable it could be put in terms of driving a car. In driving a car the teacher can very well explain the technicalities of driving but the relation between the operation of accelerator and the clutch cannot be explained in terms of words but could only be felt by the learner. Even in cooking, the teacher can explain the technicalities of the process of cooking but bringing out delicious food is based upon the taste of the learner only. In the same manner, music-lesson could either be taught or learnt but music-sense must only be felt by the learner to sing or play soothing music.

But our legendary musicians did not allow even to write the compositions in notation leave alone writing in symbolized notation furnished by Subbarama Dikshitar in his monumental work, Sangita Sampradaya Pradarshini. So, to keep all the relevant things under their control, the highly egoistic and selfish legendary musicians have evolved an illogical system of teaching music face to face in which the teacher always sings or plays the instrument himself/herself and the learner must imitate him/her successfully. For this purpose these musicians who are mostly of performing perspective but not teaching perspective at all have listed a number of items and a large number of compositions in the syllabi to be sung by the teacher and followed by the learner. In this illogical process of learning face to face the student's instinctive abilities are not utilized at all but he/she is compelled to remain under the perennial control of the teacher for a prolonged period of 10 or 15 or even more of years.

For example, the teacher in tailoring, at the first instance, teaches the student how to stitch the cloth but not the method of obtaining the physical measurements of the body and the way of cutting the cloth without any waste. In the same manner, even in music, all the teachers prefer to keep the learner perennially dependent upon them to squeeze more money but never train him in singing creative music independently. For this purpose these musicians wantonly created an illusion that creative music could neither be written nor taught or learnt. In all the Music Colleges and Music Departments of various Universities these performers have been used to prepare a syllabus with a number of items and 50 to 60 compositions and to start with singing the items and compositions one after the other. None of the teachers are ready to take the responsibility of inculcating the ability of singing creative music within the first year of learning of the student. Since many years this is the monotonous method of teaching and making the students also sing along with them. All these teachers have been used to give few written passages of creative music just before the final examinations and connive with the teachers attending as Examiners and get their students passed with good percentage of marks. As no higher authorities have any knowledge of music they all think that all these teachers are working very efficiently and sincerely. I have visited many Music Colleges and Music-departments of several Universities and the state of affairs is one and the same at all places. If needed I can prove it at any time and place. amsharma

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#605 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In any field of our life creativity has its own high place as it brings out the instinctive abilities of any individual and, in the same manner, even in our music creative-music has its own high place. In this respect I would like to furnish some facts to educate the general public only but not for any kind of self-aggrandisement.

As per our history Shonthi Venkataramanaiah, the teacher of Tyagaraja had taught him music within only one year. But, the egoistic, selfish and parasitical performing musicians who are mostly of performing perspective only but not of teaching perspective at all, instead of following this logical and highly beneficial system, have, to suit their selfish needs, wantonly brought out an illogical method in which the teacher always sings and the student perennially depends upon the teacher following and imitating him/her in singing or playing which facilitates the regular practice of the teacher in singing or playing a number of items or compositions in an elongated process running for years to come. At the same time they have also renamed creative music as Manodharma Sangita in 1940 and created an illusion that this cannot be written or learnt or taught but could only be obtained by heavy practice running for years to come. Thus these cheaters all have very conveniently avoided holding of any responsibilities of making the student knowledgeable in the intricacies of Swara or Laya but wantonly made the student perennially dependent upon the teacher.

Me too have learnt music in the same illogical way but having been appointed as Lecturer in Violin in 1961 in the Andhrapradesh Govt. Music College when I have followed the same method in which I have been taught I didn't get any encouraging results for more than 20 years consecutively. But, fortunately, like in all other music institutions and music Departments of our country, as no proper academic supervision has ever been made, I didn't loose my job. However, later, having become realised and mainly basing upon the favourable results, I could rectify some of my defects, became the best teacher of the bad lot and retired successfully.

But after 5 yrs. after my retirement in 2001, by the introspection took place only by the grace of the Almighty, it was, beyond any doubt, proved that the present method of teaching being followed by all the music-teachers, either vocal or instrumental, is very highly illogical and suicidal to the aspirants and music too. From then onwards, my truthful life as a honest and efficient music-teacher both for vocal and instrumental started. In this process I have made extensive experiments upon various aspects of muic-teaching and students too and found many amazing things which are not known to any of the present egoistic and selfish music-teachers.

In the age-old illogical method of so called music- teaching (singing) while the student is perennially made dependent upon the teacher and learns only a number of items and compositions, in the logical process of learning music while the teacher's role is less than 5% the aspirant's role is more than 95% in which the aspirants will properly be equipped with the knowledge of Swara and Laya to proceed further and further managing both of them by depending upon their own instinctive abilities. Moreover, in this logical process while the vocal-student becomes able to sing both mathematical and creative Swarakalpana hardly within only one year even before learning the first Kriti the violin-student can do this hardly within two years only. Since then I have been initiating all my students in this manner of which the respective videos of some of them are uploaded to 'msakella-youtube' also.

Later, after having become encouraged of the amazing results, I have extensively traveled to all the 12 Govt. Music Colleges in our State for two years between 2005 to 2007 holding periodical workshops and lecture-demonstrations on these logical, easy and innovative methods in learning our music for the benefit of both the students and teachers as well. But, by this, the then students only are truely benefitted and, except one or two teachers, all other teachers pretended only to learn them in my presence but didn't learn anything actually to in turn teach them to their respective students. Later, on several occasions, it was made clear to me that all these employed music-teachers working either in the Music-colleges or in the Music-departments are interested only in continuing the same old illogical and monotonic methods and in receiving their salaries very regularly but not to pass on these beneficial logical methods to their respective students at all. Gradually I came to know that, except very few youth music-teachers, no other Music-teacher wants to follow these logical methods even though they are highly beneficial to the aspirants in saving a lot of their invaluable time or energy or money.

In this respect even the performing experts of the Music Academy, Chennai, had, somehow, honoured me with their ritualistic TTK Award in 2010 and washed their hands conveniently without giving any importance even to this logical system of learning music by which almost all the aspirants would have become benefited a lot of their invaluable time, energy and money.

In paving the logical way in initiating the aspirant learn creative music right from the first day of learning itself it is very important to properly eqip him/her in five vital topics and they are: 1.Acquaintance with the odd-gati 2.Talaprastara 3.Swaraprastara 4.Categorisation and definition of the present-day oscillations of notes and 5.Symbolised notation.

1.Acquaintance with the odd-gati: For the first time, around 2000 on my initiation Trisra-gati was included in the syllabi of Madras University

2.Talaprastara: Even though, for the first time in the history, I have very successfully demonstrated this topic in the Madras Music Academy on 25.12.1983 and the first ever book on this topic was written and published by me in 1985 and a copy of it was also donated to their library none of our experts have ever cared to modify even the definition of it in the syllabi of different music examinations.

3.Swaraprastara: None of our experts did ever care to properly define this to be understandable and followable to our present day aspirants.

4.Categorisation and definition of the present-day oscillations of notes: In our Karnataka music, all the different oscillations have never been properly categorised or defined in the interest of our aspirants. Even though, I took and did the needful in this respect none of our experts are either ready to find fault in it or to bring out a logical and faultless one of his/her own.

5.Symbolised-notation: To the aspirants symbolised notation helps a lot more than the actual teacher (cheater) and hence with great foresight the great Subbarama Dikshitar brought out his monumental work, Sangita Sampradaya Pradarshani, with hundreds of compositions written in symbolised notation. But, most unfortunately, our egoistic, selfish and parasitical experts did neither follow it nor encouraged the aspirants to follow it. This is the greatness of our helpful experts!

In this respect while escaping from the responsibilities of inculcating the basic knowledge of both Swara and Laya in the aspirant these parasitical performers have wantonly omitted these above five topics from all the syllabi of all the music examinations. But, I have been used to properly initiate my students right from the very first day of lesson to learn all these vital topics to enable them deal with the five divisions, Raga-Tana-Pallavi- Niraval-Swarakalpana, of creative music.

In my extensive experiments upon the students I have found that the entrance from Swarakalpana makes the matters deadly easier to the aspirants to progress very quickly and efficiently in the creative music. For this purpose I have also symbolised some of the mathematical forms (muktayis) and brought out some PDF, audio and video files to be helpful to the aspirants while learning the Swarakalpana in a phased manner by telephone or WhatsApp or some other means.

By this some talented kids are able to sing both the mathematical and creative Svarakalpana in all the six popular Talas hardly within a month's time only. Interested candidates can contact my WhatsApp mobile number 9908822992 giving their name, age and WhatsApp number for getting proper guidance. amsharma

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#606 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In continuation to the previous post I would like to give the following details also.

In this 'time-bound, result-oriented' and logical method of learning music the teacher merely initiates the student and the student works hard independently mostly basing upon the PDFs, audio and video files furnished by the teacher.

Chi. Shreenidhi, the grand-daughter of Chennai Shree Nageshwaran, having been initiated by me from Hyderabad in this logical method, learnt hardly for 8 months and gave a mini-concert in the Global Rasikas meet held in December, 2010 at Chennai and the respective URL of YouTube is furnished hereunder:

https://youtu.be/c6PzLGv8xFw

In the same manner 7 yr. old Chi. Rishabh Ranganathan (Chicago) was trained by me in Violin for 2 yrs. through Skype from Hyderabad and in the beginning of the 3rd yr. he played a mini-solo- concert in the Parthasarathi Swamy Sabha, Chennai on 20131227 and the respective URL of YouTube is furnished hereunder:

http://youtu.be/HW1km-mHYjM

(now, at the age of around 16 yrs. Chi. Rishabh has very regularly been participating in nearly 25 concerts every year in the December season, Chennai)

Again in the same manner two lady kids, residing 6 kilometres away from my house at Hyderabad were initiated by me by phone and hardly within 1 1/2 yrs. and even before learning the first Kriti they were able to sing both cretive and mathematical Swarakalpana in the popular six Talas along with brief Ragalapana. The URL link of YouTube in which the chronological order of their videos is furnished hereunder:

https://www.youtube.com/playlist?list=P ... Bwfx1O_rLu

The logical role of the teacher is less than 5% and the student's role is more than 95% in initiating the student in learning either cycling or motor-cycling or car-driving or cooking or music. While the criteria in the illogical old method is learning a number of items and compositions only in an elongated process running for years together becoming able to sing creative music that too hardly within the span of a couple of years is the criteria in the logical method of learning music.

But, as the old illogical method facilitates the teacher to escape from the responsibility of inculcating the knowledge of singing cretive music in the student and, at the same time, also to squeeze more money from the poor student in the elongated process running for years to come most of the music-teachers (cheaters) prefer to follow the old method only wasting the invaluable time, energy and money of the impotent student and his/her parents. Unless both the students and their parents realise the pros and cons of both these methods and demand for the logical and highly beneficial method among them most of the present music-teachers are interested in following the old monotonous method of teaching a number of items and compositions only but not the things like Swarakalpana of creative music.

Recently nearly more than 20 kids have attended the one-month work-shop on Swarakalpana through WhatsApp and became able to sing both creative and mathematical Swarakalpana in the six popular Talas very efficiently. amsharma

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#607 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In my extensive experiments on the learning methods of music it has been proved beyond any doubt that all our musicians, without any exception, being more of performing perspective but not of teaching perspective at all and also being very highly egoistic and selfish, have always been used to follow their own illogical tradition only in any aspect of music. Having very successfully followed all these illogical and suicidal methods I have spent for more than 60 years of my life as an inefficient teacher and did much harm to the society with all my illogicalities and later only by the grace of the Almighty I have been able to do things on very logical and right direction getting amazing results unlike any other teacher on earth.

For a glaring example, particularly while teaching a student on the very first day of the lesson each and every south Indian music-teacher has been used to sing srgmpdns & sndpmgrs for 15 mts. or 30 mts. along with a Tambura or a Shruti-box havinvg only Shadja & Panchama, asks the student also follow him /her in singing and tells the student to continue the practice in the same manner until the next class. In fact, when the poor student is unable to differentiate either Shadja or Panchama of either the Tambura or the Shruti-box how the student can sing the other 5 notes rgmdn which are not available either in the Tambura or the Shruti-box without any help?

For another glaring example, all our music-teachers start the Alankaras with Dhruva-tala in which, except Dikshitar, no other composer dared to compose even a single composition. But, all our Sangita Kalanidhis or Kala Acharyas or Bharatratnas while teaching their students start these Alankaras with this great Dhruva-tala being unaware of the students' misery. I cannot list out here all such grave illogicalities of our music-cheaters.

Such basic blunders of our cheaters obviously reveal that as all these Sangita Kalanidhis or Kala Acharyas or Bharataratnas are of performing perspective only but not teaching perspective at all, none of them even think how a student can sing all these notes without any reliable help. In the same manner, even in respect of rhythm, many of them have ever been used either to practice along with metronome themselves or even to suggest the student to practice along with the metronome.

Ultimately, all these illogical methods are very conveniently used to elongate the process of learning for more than 10 or 15 yrs. keeping the poor student perennially upon the cheater and this makes us to understand that logically it is desirable to the student to invariably rely upon a precisive machines than this cheater in respect of Swara and Laya, the keyboard and metronome, the automatic electronic gadgets meant for both Swara & Laya to be on right path right from the very first day of the lesson and to avoid any mistakes in his regular practice.

Since 2007 more than 600 posts are written in this thread bringing out many such illogicalities to the notice of one and all but, very sadly, even though many teachers are well aware of these facts no one dares to come out and discuss openly lest their own beans will be spilled out in such open discussions. amsharma

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#608 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Nowadays, does anybody prefer to go to Varanasi by foot??? No, not at all. Why? Absolutely it is a criminal waste of time, energy and money. To save the time, energy and money each and everybody prefers to possibly avoid to go to Varanasi by foot

Not only that, even in respect of our music, it has many a time been proved beyond any doubt that any student who invariably relies upon machines like electronic Shruti gadgets and metronome for Shruti and Laya than these cheaters and works hard independently will certainly prospers very quickly and efficiently. Thus, I never even toil myself for more than 1% while very honestly and efficiently initiating my students in music and in getting amazing results within a very short time.

Being insensitive many may not agree with me but I hate our Tambura being an inadequate instrument to be fully helpful and inspiring to any true musician (however, I don't want to waste my energies to narrate here these inadequacies of our Tambura). That is why, even 30 or 40 years back I have designed my own electronic automatic Tambura-cum- shruti-box and since been using this instrument only. Some of my old students also use this instrument only. Thinking that this instrument also becomes old and less operative like me gradually I have, then and there, brought out some audio-files with consonant combinations of notes of this instrument to be used just like Hindustani Swarmandal while singing different combinations of notes of different Ragas. To be useful to the sensitive musicians I have also uploaded them to Mediafire and the respective URL links are furnished in the 553rd post of this same thread.

For the benefit of the enthusiasts few days back I have demonstrated some of them and uploaded to YouTube and Facebook. Interested persons can go through them and benefited. amsharma

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#609 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Having successfully spoiled hundreds of students in my career as a Violin-teacher in the Govt. service of nearly 35 years, I, only by the grace of the Almighty, have realised in my introspection held after 5 years after my retirement in 2001 and made extensive experiments on the methods of learning (not teaching or cheating) and successfully found a way out.

For a glaring example, particularly while teaching a student on the very first day of the lesson each and every south Indian music-teacher has been used to sing srgmpdns & sndpmgrs for 15 mts. or 30 mts. or even more along with a Tambura or a Shruti-box havinvg only Shadja & Panchama, asks the student also follow him /her in singing and tells the student to continue the practice in the same manner until the next class. In fact, when the poor student is unable to differentiate either Shadja or Panchama of either the Tambura or the Shruti-box how the student can sing the other 5 notes rgmdn which are not available either in the Tambura or the Shruti-box without any help? (I made my student rely independently upon the keyboard to avoid this)

For other glaring example, all our music-teachers start the Alankaras with Dhruva-tala in which, except Dikshitar, no other composer dared to compose even a single composition. But, all our Sangita Kalanidhis or Kala Acharyas or Padmashrees or P.hds while teaching their students start these Alankaras with this great Dhruva-tala being unaware of the students' misery (that's why I start with Eka-tala and upwards gradually in increasing number of value)

Still for another glaring example, among the Alankaras of seven Talas, while five of them have only short-notes two of them have longer-notes also by which the students are compelled to avoid these two Alankaras of Jhampa and Ata-talas in their regular practice (also to make use of them I have modified them suitably with all short-notes and all our students are utilising them in their regular practice)

I cannot list out here all such grave illogicalities of our music-cheaters. That's why I don't hesitate to call them all cheaters. Whoever dislikes this can prove his/her efficiency and honesty in teaching.

Such basic blunders of our cheaters obviously reveal that as all these Sangita Kalanidhis or Kala Acharyas or Padmashrees are of performing perspective only but not teaching perspective at all, none of them even think how a student can sing all these notes without any reliable help. In the same manner, even in respect of rhythm, many of them have ever been used either to practice along with metronome themselves or even to suggest the student to practice along with the metronome.

Ultimately, all these illogical methods are very conveniently used to elongate the process of learning for more than 10 or 15 yrs. keeping the poor student dependent perennially upon these cheaters and this makes us to understand that logically it is desirable to the student to invariably rely upon precisive machines than these cheaters in respect of both for Swara and Laya, the keyboard and metronome, the automatic electronic gadgets meant for both Swara & Laya to keep them on right path right from the very first day of the lesson and also to avoid any mistakes in their regular practice.

Since 2007 more than 600 posts are written in this thread bringing out many such illogicalities to the notice of one and all but, very sadly, even though many teachers are well aware of these facts no one dares to come out and discuss openly lest their own beans will be spilled out in such open discussions.

In my extensive experiments on the learning methods of music it has been proved beyond any doubt that all our musicians, without any exception, being more of performing perspective but not of teaching perspective at all and also being very highly egoistic and selfish, have always been used to follow their own illogical tradition only in any aspect of music. Having very successfully followed all these illogical and suicidal methods I have spent for more than 60 years of my life as an inefficient teacher and did much harm to the society with all my illogicalities and later only by the grace of the Almighty I have been able to do things on a very logical and right direction getting amazisng results unlike any other teacher on earth.

To tell the fact, the teacher who wants to initiate the student in learning cycling or car driving or cooking must perform them himself just for a few minutes just to show them the operations of them and later he has to initiate them in doing things on their own. Even also in learning music the teacher must do in the same manner allowing the student work on his own independently for more than 95%. In this logical and qualitative method in learning music the student works mostly and independently depending upon his own instinctive abilities of rhythm and note. For this purpose the student's rhythmical ability must, at the first instance, possibly be stabilised to learn music. Thus, in this logical and qualitative method in learning music while the student mostly works independently on his own, in the old, illogical and quantitative method in teaching music the student is compelled to perennially remain dependent upon the teacher which makes all the defference in his quick and efficient progress.

Truthfully, the aspirant of learning music must be made equipped with the qualitative knowledge of how to manage with both the rhythm and note which is absolutely logical. But, to always keep themselves on track of regular practice, the highly egoistic and selfish Tamilians introduced an illogical method of quantitative learning of a number of items and compositions only by listening to his teacher perennially making him dependent upon the teacher for an elongated period of 5 or 10 or 15 years.

At the time of Thyagaraja (1757-1847) even though his teacher, Sonthi Venkataramanayya taught him for only one year and made him a Vidwan these selfish Tamilians, since last 250 years, ditched this method and continued their illogical quantitative method only incurring heavy loss of time, energy and money of the poor student. While only less than 20% of the students are becoming Vidwans after the completion of this vigorous, illogical and elongated training depending upon the teacher, far more than 80% of the students are becoming Vidwans in this quickened, independent, logical and qualitative learning hardly within a couple of years. Most unfortunately, most of the selfish music-teachers are turning a deaf ear towards this logical and quickened method as this very badly effects their financial earnings and also reduces their importance as a Guru.

Thus, since last 250 years, all our hypocritical Sangitakalanidhis, Padmashrees, M.As, P.hds and the so called music-cheaters who are more of performing perspective and very less of teaching perspective have successfully been spoiling lakhs of students like I did through this illogical, elongated and quantitative teaching. Not only this, they have already ditched the sysmbolised notation furnished by Subbarama Dikshitar in his monumental work, Sangita Sampradaya Pradarshani. In making the matters easier to the students when I have categorised, very clearly defined and also symbolised our Kampitas and Gamakas and furnished with respective audio-files also none of these cheaters dare either to support them or even to criticise them for the benefit of our own kids. Ultimately I do not understand what any of these cheaters, except turning a deaf ear to such embarassing problems, have ever been doing any kind of benefit to any of our kids.

Since last one year I have very successfully been initiating both kids and youth of our twin cities, Hyderabad & Secunderabad in successfully and efficiently singing both mathematical and creative Swarakalpana in the popular six Talas hardly within a month without attending in person and acting only through Whatsapp group while, surprisingly, all other local musicians have become mere spectators.

It may not be out of the context if I write that I, in my keen observation, have also found that Chennai musicians treat all the instrumental musicians also on par with the vocal musicians only but do not think to make videos particularly focussing on the different and very rare finger techniques of the instrumental-wizards and preserve them for the benefit of the next generations. In this process our Karnataka music field already lost unfathomable wealth of very rare instrumental techniques for ever by our pitiable, negligent and ignorant musicians.

To tell the very bitter truth, even though I have been helping many of our music students in many ways, very sadly, most of these cheaters still prefer to continue their harmful methods only.

Since a very long time I have been used to bring out many such bitter facts to the notice of the public but, to my utter surprise, even the public is also used to turn a deaf ear towards such crucial problems of our own kids in learning this art and God only must save them !!!

Finally I am very very fortunate for being chosen by the Almighty to bring out the following contributions
to our music for which I ever remain grateful to HIM:

01. 3 Original books on Talaprastara, the rarest and unearthed topic of music.

02. 3 Books with notations and along with CD.

03. 1 Book on segmented Ragalapanas, Swarakalpanas and Pallavis and along with CD

04. 1 Book on the first ever 'time-bound & result-oriented' system of music-learning and along with CD

05. Jati-alankaras along with CD

06. Special Rhythmical exercises along with CD

07. Categorised and symbolised Kampitas & Gamakas along with CD

08. 1200 videos uploaded to YouTube

09. Electronic-automatic-tambura-cum-shruti-box of 3-octaves along with many additional notes brought out around 1984.

Next month I am going to enter into 83rd year. Started in 1961 as Lecturer in Violin, started accompanying my Guru late Nedunuri' Krishna Murthy from 1965, stopped accompanying him from 1981, given up accompanying ladies and got promotion as Principal in 1984, accompanied only one Vidwan late Puranam Purushottama Shastry from 1991, safely retired in 1996, fully gave up artistic life and went through the God blessed introspection in 2001 and been unrelentingly serving the cause of music till date. Hereafter my body may not allow me to work that vigorously. amsharma

Pratyaksham Bala
Posts: 3758
Joined: 21 May 2010, 16:57
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#610 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by Pratyaksham Bala »

.
For years, we are accustomed to hearing the deplorable name-calling, i.e. “music-cheaters”, “cheaters”, “cheaters” … …

And also comments like “all our musicians, without any exception, … being very highly egoistic and selfish”.


But this one is new !
msakella wrote:
27 May 2020, 14:11

... the highly egoistic and selfish Tamilians ...

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#611 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In general, I don’t like to respond to anonymous posts. amsharma

nallininarayanan
Posts: 5
Joined: 27 May 2020, 23:44

#612 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by nallininarayanan »

Dear Sir,
The above link does not seem to contain these files.kindly advice..
thanks
[email protected]

msakella
Posts: 1922
Joined: 30 Sep 2006, 21:16

#613 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In my post No.609 I didn't furnish any link of any file at all. Then, if you give me the details of the file you need I can try to find the link if I have to give you. The same I wrote to your email too, amsharma

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