AMS Easy Methods 2007 CD - Teaching and Learning Methods

To teach and learn Indian classical music
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msakella
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#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
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#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: 1939
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#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: 1939
Joined: 30 Sep 2006, 21:16
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#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
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#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
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#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
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#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
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#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
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#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
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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
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#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
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#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

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

Post by msakella »

Except in this sub-thread, in general, it is very rare in this forum to find a post which is genuinely meant to help a music aspirant in very quickly and efficiently learning music very independently in a 'time-bound and result-oriented' plan. However, after a long time I have seen such attitude in the post 'Why students discontinue music lessons' under the main thread, 'General Discussions'. But when the discussions are going into different directions but not truly and truthfully helpful to the aspirants I have entered and wrote some posts bringing out the facts of their struggle of these music-aspirants. But, as the egoistic and selfish teachers are not ready to face these facts they stopped to respond as they don't want to spill out their own beans by writing something in their response. I know pretty well that these cheaters and traitors will certainly stop to respond and run away and they all readily did it as expected. None of them can either do it so quickly or efficiently like me or bears with it if others do it. Had any of them could have done so he/she could have already done it long back.

In fact, even in the present 'New educational policy-2020' newly introduced by the Central Government this kind of quick and logical learning plan must be introduced to honestly help the poor aspirants and their parents in abundantly saving their invaluable time, energy and money in the process of learning this classical music. But, as these egoistic and selfish cheaters and traitors who are mostly of performing perspective but very less of teaching perspective are not at all willing or ready to leave the old elongated, illogical and suicidal method of learning music, I know pretty well that each one of them will certainly turn a blind eye or a deaf ear of this logical plan. God alone must save our poor aspirants! amsharma

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

Post by abithaselvaraj »

Dear Sir,
can you please share the files online or if there is a way to purchase the AMS easy methods online it would be very helpful.
the link shared http://sangeethamshare.org/chandra/AMS- ... thods-2007 seems to not work.

🙏

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

Post by msakella »

Dear sister-member abithaselvaraj,

Yes, dear. You can get all my five books (both English & Telugu versions) by typing “akella mallikarjuna sharma’ in Amazon. amsharma

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

Post by abithaselvaraj »

Thank you for the response sir,would be helpful to know if the book includes CD too?

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

Post by msakella »

Dear sister-member abithaselvaraj, Yes dear, certainly. amsharma

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

Post by abithaselvaraj »

Sir, I can only see kindle version in US.please let me know how can I avail the benefits of CD with kindle version.

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

Post by msakella »

Dear sister-member abithaselvaraj, In the book of the kindle version, in the 2nd page itself the respective link of the Google-drive along with the Q.R.Code is furnished. From any one of them you can download the contents of the respective DVD. amsharma

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

Post by abithaselvaraj »

Thank you for the response sir.Thank you making it available online, this would be of such a great help for people like us who are interested to learn.

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

Post by abithaselvaraj »

hello sir, The link mentioned in Sangita Svararaga Sudha - is not reachable.can you please help on the same.

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

Post by msakella »

Hello dear, I have tested and either through the link or the QR code you can certainly get its contents
amsharma

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

Post by msakella »

In continuation to my previous post I would like to write the following.

As I wrote previously, having faithfully followed the footsteps of all other senior music-teachers, I was also one among these cheaters, traitors and rogues for much of my teaching life but the Almighty had chosen me to make some remarkable service to the field of our music for the first time in the history particularly for the benefit of the poor aspirants and their parents.

In this process, when the first introspection occurred in my life for the first time in 2001 and my inefficiency in starting even the basic Alankaras to the poor innocent students with the suicidal DHRUVA-TALA came into light. Any efficient and honest music-teacher would have considered to start with the easiest EKA-TALA. But by very blindly following all other senior music-teachers me too have started to very heavily tax the poor and innocent students with the most confusing DHURUVA-TALA in which except Mutthuswamy Dikshitar no other composer had ever dared to compose even a single composition. This obviously reveals my gross inefficiency in teaching and then what is wrong in calling me a cheater or traitor or even a rogue I do not understand!!! Thus, my first blunder came into light and this paved way to follow a very strict logical method in minimising the four implications of these Alankaras, 1.Rhythm 2.Tala 3.Note's syllable and 4.Note's sound to only two implications, 1.Rhythm and 2.Jati and in bringing out the JATI-ALANKARAS for the first time in the history and starting all the Alankaras along with JATI only and also starting with EKA-TALA-JATI-ALANKARA only. BLater, for the benefit of the students, I have also modified both the Alankaras in Jhampa & Ata-talas fully with short-notes.

Later I have started to look into myself in this respect and found a number of illogicalties in my teaching which very badly affected almost all the students. Among them a very few important general blunders are listed hereunder.

2.On the very first day of the lesson to the student I was used to sing all the eight notes s-r-g-m-p-d-n-s and made the student follow me in singing them all even when only two notes, sa & pa only are audible from the Shruti-box but not any other remaining notes. To avoid this illogicality when I made the student mainly rely upon the keyboard and always sing along with it while playing all the eight notes this helped a lot in so many ways to the poor and innocent student. It is always desirable to rely upon a machine than a human in respect of both the rhythm and note and Hindusthani-musicians are always far more sensitive than our Karnataka-musicians as they rely upon the harmoniam-machine from the first day of their music lesson in respect of pure-note.

3.In this process I have found that the present method of teaching our music has been very highly illogical through which the instinctive abilities of the aspirant have wantonly been eclipsed making him perennially dependent upon the music-cheater wasting his/her invaluable time, energy and money. While absolutely making the music-learning very strictly logical and quick I have made some modifications in this system mainly making it very strictly 'time-bound and result-oriented' in getting successful end-result of the aspirant.

Since 2001 I have been on the extensive research on these easy methods in learning our music and been bringing out all the details through all these posts in this sub-thread. But, these music-cheaters have all along been turning a blind-eye or a deaf ear in this respect lest their own beans will be spilled out if they come out open for any dialogue or discussion.

In tailoring the teacher must initiate the student to learn how to take the physical measurements of the body, how to cut the cloth without making any waste and how to stitch the cloth. But, in general, to keep his/her student perennially under his/her own control, the teacher teaches his/her student only how to stitch the cloth but not the other important techniques. In the same manner, even in learning music, the student must become able to manage with both the intricacies of rhythm and note. But, very sadly, the very highly egoistic and selfish music-performers under the guise of sacred Gurus (music-teachers) have brought out a highly illogical system of learning several music items and compositions even without any grammar merely by following the teacher in singing perennially depending upon the teacher for a number of years.

Just to wantonly avoid this perennial dependency of the poor and innocent student when I have made him/her mainly rely upon the machine, keyboard for both the rhythm and note most surprisingly the progress became very quick and very efficient in making it very strictly 'time-bound and result-oriented' for the sole benefit of the poor and innocent students and parents for the first time in the history.

4.At the same time to make the matters of the intricacies of both rhythm and note easier and followable to the poor student I have categorised and symbolised both of them keeping the present need of the poor student in view for the first time in the history and furnished in my books.

5.In general, very sadly, no music-cheater prefers either to give the detailed or symbolised notation along with a pre-recorded CD/DVD to any of the compositions to be learnt by the students. To truly and truthfully help the poor student I have published five music-books along with general, detailed and symbolised notation along with the pre-recorded CD/DVD for the first time in the history.

6.The efficient and honest teacher, without taxing the student, initiates him/her learn the most important items or compositions as quickly as possible. In this process, right from the first day of the music-lesson, the student is properly initiated to learn 8-Saralasvaras, 3-Jantasvaras, 3-Datusvaras, 7-Alankaras, 5-Gitas, 1-Svarapllavi, 9-Select Varnas & Svarajati in Bhairavi mostly relying upon the keyboard, metronome, notated compositions and respective audio & video files. In the meantime he/she is also initiated to sing both creative and mathematical Svarakalpana in all the six popular Talas even before learning the first Kriti on his/her own hardly within the first-year of learning.

Lastly I hope that the knowledgeable and honest members of this forum become aware of the above facts and try to work accordingly in truly helping our poor and young aspirants in this respect. amsharma

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

Post by msakella »

Some helpful observations-1:

Being a very successful follower of Violin Wizard M.S.Gopalakrishnan and a senior disciple of Sangitakalanidhi Nedunuri' Krishnamurthy and having vast experiences of both performing and teaching, today, having entered into my 83rd year of age, I don't hesitate to declare that the music-teacher who very ably, honestly and efficiently initiates the aspirant more than 95% is the true teacher and all others who do not or cannot do so I don't hesitate to call them cheaters, no doubt. Till now I did never find such a true music-teacher.
Very sadly, even in most of the music-institutions and music-departments of most of the Universities around the globe all these so called teachers are wasting the invaluable time, energy and money of the poor aspirants in the monotonous old process of teaching music. All know what these Professors are teaching but they don't know what these Professors are not teaching!

Most of the egoistic and selfish musicians have wantonly created an illusion that music must be learnt face to face from the teacher. All my extensive experiments, beyond any doubt, prove that, except instrumentalists, vocal students need not even see the face of the teacher while learning music but rely upon the audios or videos of the teacher. Moreover, in many cases, it has been proved that, to escape from the bad mannerisms or qualities or habits of the teacher, it is always desirable to the aspirant to rely upon his own instinctive abilities only than the teacher to move further and further very quickly and efficiently.

In my extensive experiments on this 'time-bound & result-oriented' learning-methods (not cheating methods) in music I, basing upon the very favourable end-results, have very successfully formulated different level-based exercises in Swarakalpana leading to level-based Ragalapana and level-based Pallavi-singing. Since last one year nearly 30 to 40 candidates have been initiated in singing Swarakalpana hardly within 30 days. As all these methods are more effective in respect of youngsters, interested and hard-working youngsters can contact my WhatsApp telephone-number 9908822992 giving their name, age and qualifications in music for getting the respective details. Only basing upon some rhythmical and musical tests their candidature will be confirmed for getting this training. amsharma

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

Post by msakella »

Some helpful observations-2:

In continuation to the post No.602 I would like to give the progressive details of 32 yrs. old house wife Chi. Sow. Krishnaveni from Warangal, Telangana.

In the logical Akella's method of learning our music in which the teacher's role is far lesser than 5%, she had very independently and successfully learnt more than 60 kritis in a year apart from the Swarakalpanas & brief Ragalapanas of them.

Now, while initiating her work on her own when I have given the audio containing the Ragalapana of Kharaharapriya of my Guruji Sangitakalanidhi late Nedunuri Krishna Murthy she cut it into 58 segments, very efficiently notated and sang the same within no time of which the URL link of it is furnished hereunder for the interested listeners.
amsharma

https://drive.google.com/folderview?id= ... vmBXAj60J8

msakella
Posts: 1939
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#627 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Some helpful observations-3:

The following are the URL links of 7 yr. old Chi. J.S.Sarvamangala, grand daughter of the great Bhajana Nritya exponent Chi. J.S.Eshwaraprasad who has been well trained by her mother Chi. Sow. J.Saroja in the 'Akella's logical method' in learning music and very efficiently rendered the Special Laya-exercises in Chaturashra (3-5-7 jati-breaks) and Trisra (4-5-7 jati-breaks) gatis and Jati-alankaras for the benefit of the interested students. amsharma


https://drive.google.com/file/d/1ePlu-1 ... p=drivesdk


https://drive.google.com/file/d/1xcNFzV ... p=drivesdk


https://drive.google.com/file/d/1jOwMj0 ... p=drivesdk

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

Post by msakella »

Some helpful observations-4:

Most unfortunately, all our Sangitakalanidhis and Padmashrees have long ago created an illusion
even without any logic behind it that Manodharma Sangita should not be written or taught or learnt but could only be obtained by rigorous practice running for years together which, in fact, is a deliberate lie.
In my extensive research it was proved, beyond any doubt, that it helps a lot if each and everything is written in notation at the primary level just like maintaining the account of clothes taken by the washerman and our personal bank details.
Right from the first day of lesson if the kid is properly initiated to work on his own independently basing upon his self instinctive abilities and with the help of machines like keyboard in learning and managing with both Rhythm and Note the process of learning is quickened very fast coupled with efficiency. Since last 20 years I, even without singing myself Sa or Pa even once in any of the classes, have been able to very efficiently and honestly initiate the kids sing even Swarakalpanas and brief Ragalapanas hardly within an year even before learning the first Kriti very strictly basing upon a logical lesson plan from the very first day of learning. I very well know that, except wantonly turning a deaf ear or a blind eye towards such helpful things to the aspirants none of them can do nothin!!!

In this respect even the Chennai Music Academy honoured me with their ritualistic 'TTK Award' on 20100101 but did nothing in propagating such helpful things even for the benefit of all our aspirants learning music by saving their invaluable time, energy and money. In fact, by properly utilising the modern gadgets and facilities our music-teachers must quicken the process of learning music coupled with efficiency. But, how many are doing this? Funnily they themselves cannot do such helpful things to our kids or even honestly co-operate with others who can do so!!!

In continuation to the previous post I have later given the audio-file of Shankarabharana-raga also of my Guruji, Sangitakalanidhi late Nedunuri Krishna Murthy to Chi. Sow. Krishnaveni and she worked independently and very efficiently reproduced the same within no time. The respective link of the same is furnished below. All these things I have been doing to help the sincere and hardworking students
only but not for the students who can very lavishly waste their invaluable time, energy and money relying upon the so-called music-cheaters. amsharma.


https://drive.google.com/folderview?id= ... Ze4VN1nPHA

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