Bringing carnatic music among youngsters

gokul iyer · Post by **gokul iyer** » 08 Jan 2010, 15:19

Hi frns,
Cud u tell sme ways 2 bring CM among youngsters?Evnthough many youngsters take interest in this thr r others who ignore this art

vmr · Post by **vmr** » 08 Jan 2010, 16:17

One way to get interest in Carnatic/Classical music is to listen to a lot of classical music. Ir-respective of whether one can understand or not, prolonged listening to classical music is bound to create intrest in the same.

One more way is to attend as many concerts as possible. Especially in chennai there are concerts almost through out the year. One has to just sit thru a couple of concerts and observe what is sung or played.

It is a gradual process to create interest and can not be done overnight.

When a kid of say 4 or 5 years is exposed to classical music slowly, the intrest is bound to increase and it can only increase as time goes by.

VMR

ganesh_mourthy · Post by **ganesh_mourthy** » 09 Jan 2010, 12:34

when we keep our music noise free and unwanted gamakams free and shruthi oriented we would see an upsurge of 20% . guarantee. techniques and aesthetics concomitent is my say.

VK RAMAN · Post by **VK RAMAN** » 09 Jan 2010, 20:43

The change has to come from within each individual.

srikant1987 · Post by **srikant1987** » 09 Jan 2010, 22:30

I agree with ganesh_mourthy. More stress on basic aesthetics is important to new listeners of any genre of music.

nexusone · Post by **nexusone** » 13 Jan 2010, 08:38

Youngsters will listen to what they like

rajesh_rs · Post by **rajesh_rs** » 15 Jan 2010, 00:55

I guess real interest in Carnatic music can be developed by a genuine cultural transfer - an education in the background of Carnatic music, the religious antecedents, the spirit of devotion and classicism and the aesthetic beauty of Carnatic music (that is performed well). As others have said here, we should develop a more aesthetically evolved approach to our music while not deviating too much from the fundamentals.

veeyens · Post by **veeyens** » 16 Jan 2010, 01:49

I know of a gentleman, a well placed young man, back in 70s known as Aurangazeb for his aversion to Carnatic music, after his marriage to musically inclined lady , attending concerts more to please her and gradually developing a taste with the result in a matter of five to six years, he learnt so much by sheer "Kelvi gnanam " that started singing himself as an amateur of course. Nothing is impossible

vasanthakokilam · Post by **vasanthakokilam** » 16 Jan 2010, 08:19

>when we keep our music noise free and unwanted gamakams free and shruthi oriented we would see an upsurge of 20% . guarantee. techniques and aesthetics concomitent is my say.

g_m, Of late you are into this anti-gamakam thing, aren't you?

What you say has some truth in the mass appeal of CM based songs.
I read somewhere that even in the 40s and 50s when move songs were CM based, the music directors used to tell the singers 'romba asaivu vendAm' ( don't provide too much shaking ), otherwise people will ignore it as 'bhagavathar pAttu'!!!

But then mass appeal and youngsters are not the same set. ( there may be some intersections there, definitely ). I think noise-free music with all the CM gamakams sung with proper sruthi adherence by someone with an attractive voice can pull in younger audiences.

Gamakams can be overdone or not done right to the point of anti-sowkyam/non-sruthi, definitely, and such things need to be corrected, but that is all within the CM framework. For example, 4 out of 10 renditions of the begada varnam I hear sound off-sruthi at many places. I just label them as bad execution of begada gamakams.

But people need not like gamakam ( the proper kind ) but I do not want them to label such music as non-sruthi oriented. Thodi has to have wide oscillations on Ga, Begada on Ma and Ni and Nayaki on Ni, that special oscillation on kAnaDa Ga etc. Those are all valid and if someone does not like it, so be it. I would not want a carnatic music without those. Someone's unwanted gamakams is someone else's highly cherished aspects of CM.

Radhika-Rajnarayan · Post by **Radhika-Rajnarayan** » 16 Jan 2010, 09:37

I agree with ganesh_mourthy about eschewing UNWANTED gamakams. In addition if we learn to pause on the plain notes, for a considerable time - for example in a gamakam-laden raga like kalyani, there is still plenty of scope for emphasising and pausing on the plain notes - APART from the Sa and Pa. The raga is just transformed and the beauty stands out. Yes indeed, the special gamakams of Todi, Begada, Nayaki, Kanada etc should be emphasised and brought out to profile the special colour of the raga. But I think Ganesh_mourthy means needless gamakams where none are required, overshadow and blur the clear line of the raga.

srikant1987 · Post by **srikant1987** » 16 Jan 2010, 09:55

Yes indeed, in kalyANi, the ga provides a very valuable pause. When used wisely, plain ni's can introduce a special beauty in the raga too. Also ri's ... waiting on the tAra ri for some time before coming to the sa, etc.

vasanthakokilam · Post by **vasanthakokilam** » 16 Jan 2010, 11:25

Yes, of course. Who would need needless gamakas?

Seriously, there is a tendency in some circles to erroneously assume that sruthi suddham and gamakas are not compatible with each other. Plain notes, of course, have their beauty, they need to be cherished and that is all part of the raga lakshaNam.

priyaram78 · Post by **priyaram78** » 16 Jan 2010, 11:35

IFrom my experience, I feel , it is important for children to know the meaning of carnatic songs as it will help in creating an interest in listening to more of carnatic music. Atleast a vague idea of what a carnatic song means is important as children will then understand it better and it also helps in creating bhakthi in children.

vmr · Post by **vmr** » 16 Jan 2010, 11:35

One has to listen to Prof. S.Ramanathan to understand the difference of plain notes compared to gamaka & briga laden rendering. His rendering is full of Bliss (Sowkyam). Absolutely soul touching to listen.

VMR

ganesh_mourthy · Post by **ganesh_mourthy** » 16 Jan 2010, 12:07

Vasanthakokilam , i am not anti gamakam but apPROpriate gamakam. I have heard to a vaishnava jantho by our trend setter ( male) cum singer and that is the worst i have ever heard. their singing style had an influence on even the light songs. probably so much that they have been shaking their notes and the notes cannot escape the law of inertia all their life. the gamakams in kanada begada and bhairavi are all beautiful with ample plain notes in between and THE GAMAKAM FALLING IN THE SAME FREQUENCY INTERVAL ALWAYS. but sometimes i think with xxxxxtra gamakams all the possible frequencies are been exploited. the result is a cacophony. the level of tolerence of our carnatic masses are amazing. there are musicians who completely lost their voice yet still in limelight.

to an uninitiated this is a set of devotional songs. so it WAS for me. that has to be corrected . AND MY LAST QUESTION .... have you ever seen any western opera singers clearing his or her throat every now and then nosily. they sing too but to an amazing range...... is it just a carnatic throat clearing syndrome? i was with my cousin ( his first concert) and he had this query too. he said "y cannot he take rest at home if he is so sick. !"

munirao2001 · Post by **munirao2001** » 16 Jan 2010, 12:13

gokuliyer,

I am posting the extracts from my article 'Karnatic Music, Tradtition and Enlightenment', relevant to your post.

" Youth participation in learning, performing and enjoyment of Karnatic music
For the very survival of the art form and its progress and continued growth, with vitality, only youth taking to the art form in greater numbers will ensure the success in achieving the goal and objectives. The developments in the recent past, confirms that. When Great Maestros/Maestros/Vidwans and Vidushis were either lost or past their prime of creative performances or age and when young musicians were not coming up with serious commitment and dedication, there was genuine anxiety about the progress of Karnatic music art form. Thanks to youth taking up the music with great commitment and dedication, we have now young and not so young maestros, enthralling the Karnatic music rasikas. These young maestros have proven the fact that Karnatic music art form will continue to progress and grow and is, immortal. All the rasikas who want youth, who 'shun' the Karnatic music are to be given genuine opportunity to experience and later enjoy the Karnatic music, want more of this recent success, continue to happen, uninterruptedly. No intention or designs to 'force feed', but to give real time opportunities and exposure, to create the interest, taste, experiences, total enjoyment and satisfaction to the youth, in greater numbers.
Youth have taken to Classical Music in large numbers, learning, practicing and performing, when compared to earlier generations, even with all the un certainties of attainment of high quality vidwath or success. The confidence gained through the real time opportunities to make a good living out of income from practice of Classical Music, will pave the way for continued and increased participation and roles by the youth, in serving the cause of Classical Music and Karnatic music. Youth of the present generation are attracted mainly by the hype generated by the media-both visual and print, high visibility, National/International Success, high profile celebrityÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s endorsements, successful event management, scope for their own participation, scope for unconditioned and uncritical listening and enjoyment.
The rasika is attracted to listen Classical Music , primarily for tasting the sacredness or taking the sacredness message, as part of their own religious progress or as a process of self realization or for pure and simple entertainment value offering excitement and energetic feel.
Irrespective of the age, the need for the listening pleasure and objective drives the listener to take appropriate steps in securing the fulfillment. It is undeniable fact that Karnatic music with the primary goal of religious gratification, never attracted youth-not well informed about Karnatic music or initiated. Youth listen to Karnatic music with intentions to partake the pleasure of experience with others, either inspired or influenced by a celebrity's success and fame or curiosity value or part of their educative values. They are of small per cent age, at any given point of time. The confidence gained through the real time opportunities to make a good living out of income from practice of Classical music, will pave the way for continued and increased participation and roles by the youth, in serving the cause of Classical music and Karnatic music.
To make Karnatic music appeal to the youth, specific Karnatic music concerts/programs should imbibe the core values of other genre, successfully attracting and delivering the satisfaction to the youth/masses-energetic, vigorous, striking, shaking and easy to relate and pleasing to the ears and the event well managed.
Karnatic music should focus on both the primary goals - Bhakthi/religious and Entertainment, and offer listening opportunities, exclusively with one of the goals and separately to achieve the goal of taking the Karnatic music to youth. All of those who are genuinely concerned and deeply committed should support genuinely with all the means and resources. Can we all take simple steps and immediate action? All the youth members of music colleges and schools attend live concerts religiously. Take along friends, max.no of not initiated, but having curiosity in CM. Try to rope in/drag (intimate friends) few friends, who hate/exclusive rasikas of other genre. Ensure that, their time is well spent, first and they had good listening experiences. Take them to only popular artistÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s concerts, who strike good rapport with the listeners, youth, specifically. Select concerts venues with either good canteen facility or in the neighborhood. Enjoy the food, gently veering to the topic/review of the concert attended and about the listening experience. Ensure that they sound like experts and not novices, in your subtly encouraging talk/chat. Encourage them to buy at least one CD/DVD, to create the habit of repeat listening experiences. Through these small and effective steps, surprise the artists, event organizers, indirectly media and the sponsors, with ever growing participation of the youth. As all of us have realized, once ruchi for Karnatic music is developed, we are hooked for life. Nothing else is needed.
What we are seriously discussing and ideating is about the youth-both interested and disinterested. Initiated and not initiated. Most importantly, who 'shun' Karnatic music. .
Chintan Bhaitak is urgently required. All the stake holders of CM - Musicians, teachers, musicologists, critics, rasikas, event managers, media and sponsors- highly meritorious representatives- have to sit down and brainstorm and come to decision(s) and action plans and careful monitoring for the success of this crucial and critical development in the larger interest of Karnatic music becoming popular music for the youth-Nationally and Internationally."

munirao2001 · Post by **munirao2001** » 16 Jan 2010, 12:57

On quality in CM attracting youth- we should address this issue for two categories-initiated, looking for enriching experiences and the uninitiated.
Youth initiated and with basic knowledge of CM, must be given more and more opportunities to listen to Trinity & Khetrayya compositions with primary focus on both reflective qualities and meditative qualities. To this category of youth, only pleasing music quality is not sufficient. They must enjoy the personal experiences of both the power of plain notes and also gamakams. When they seek, they should be given full and clear knowledge on the technical significance, differentiating factors and the effect of gamakams in the theme and also on their impact on the listening experiences.

As regards the second category(present times)-i) uninitiated & secular-good/high quality lyrics, music with -striking, rythmic, pulsating, high on emotional, new, fresh and immensely popular/high profile, only attract. CM compositions with Plain& Powerful notes and minimal oscillations/simple gamakams(akin to meands of HM), with full bench thematic good concerts will serve the cause. CM musicians, young maestros, in particular are already making sincere efforts to cater to this segment. With better compositions, better directions, planning, and resources, the goal is eminently possible to achieve.

But, please do not forget the fact that the core and unique feature of CM is quality of music rich in reflective and meditative, which arise out of dasavidhakams, ONLY. Truthfully, bane of CM is GOOD MUSIC BUT BAD ART.
munirao2001

ganesh_mourthy · Post by **ganesh_mourthy** » 16 Jan 2010, 14:59

what is KHETRAYYA COMPOSITION?

PUNARVASU · Post by **PUNARVASU** » 16 Jan 2010, 15:19

I think what the poster meant was 'kshetrayya or khsetrgna' compositions.

Radhika-Rajnarayan · Post by **Radhika-Rajnarayan** » 17 Jan 2010, 11:18

Ganesh_mourthy says: Vasanthakokilam , i am not anti gamakam but apPROpriate gamakam
I fully agree. What is gamakam? It is a graceful embellishment of a note by oscillating it between other notes - the beauty of the gamakam appears when it is rendered accurately. One cannot just randomly shake the note arbitrarily.
It is lack of sufficient practise of this technique that results in a jarring sound. In addition, as many others too have pointed out, the use of gamakam APPROPRIATELY is what matters. I would draw a parallel with 'over-dressing' a child with excess jewellery, make-up and flowers. The child is lovely by itself - a good simple dress is enough to emphasise the charm of the child.

vasanthakokilam · Post by **vasanthakokilam** » 17 Jan 2010, 11:48

Yes, we all agree on the yardstick 'appropriate gamakams'..Why wouldn't we? I think we all agree on what constitutes good CM, we may just be arguing about the proper characterization of it. In addition to the oscillations, let us also include numerous anuswarams that are typically not notated.

But I do not think your analogy of the child works here. Let us take the viriboni bhairavi varnam as an example. I do not think it is a case of 'straight note execution of the varnam is lovely by itself and a simple dress up with oscillations add to the charm'. The starting phrase itself ' S,, R N, D, N, S, R, G S, R,', fails miserably as bhairavi if played plainly. It is quite astounding how much vivaharam/sukshumam is involved. If I work within your analogy, the opposite may apply. For heavily gamaka/anuswara oriented ragas, appropriate and occasional straight notes add to the charm.

Radhika-Rajnarayan · Post by **Radhika-Rajnarayan** » 18 Jan 2010, 09:14

Vasanthakokilam- this is what I mean by APPROPRIATE - of course the Bhairavi varnam as also the swarajati Amba Kamakshi require extensive embellishment. You cannot take the analogy of the over-decorated child and apply it across all categories! One never paints all categories and situations alike, does one? But if, in the process you do not render the gamakam accurately, it sounds horrible. AND you do need to play certain notes plain. for eg in the phrase N, S, R,, G S, R, the R HAS to be plain. In fact the plain R ( when played as a deergha swaram) is so characteristic of Bhairavi.
The analogy of the child is only to emphasise the undesirable effect of too much embellishment of anything.

arasi · Post by **arasi** » 18 Jan 2010, 09:36

I was exposed to CM from an early age. What I heard at home around me was the norm for me, of course. The prayer songs we sang at school were plainer, and I had no problem with that since I knew many of my schoolmates did not come from families where music was very much part of their lives. The songs were often simple but appealing. It was when it came to that once a week music classes that I noticed the difference. The teacher--herself coming from a musical family, after years of dealing with children who had no exposure to CM except in the school, sounded strange to me at first. In order to make it easy for those students, she sang the sangatis straight, as if the crinkles of the gamakams were ironed out before they came out of her mouth! I still remember the way we sang vinAyakA ninnu vinA brOcuTaku, as if we were drawing a straight line of a song without stops or turns!
Veeyens, the oldest of us all is right about kELvi gnAnam. Listening to good music with all the aesthetics, however mind-boggling or awe-inspiring , is the way to go. The key is, you don't force children to learn to sing or play before exposing them to CM and thinking that all they need is a teacher and that your responsibility ends with paying the tutor.
Let music be part of their lives (by way of listening to it at home), and wait until they want to learn music and ask for lessons on their own initiative. Parents who don't listen to good music themselves cannot expect their children to start learning CM with gamakams and all, when they are not exposed to it at home.

munirao2001 · Post by **munirao2001** » 18 Jan 2010, 09:56

Radhika-Rajnarayan

Your comments 'the over-decorated child' is not appropriate, because the original composer has created and embelished the composition with the judicious use of rich gamakams, which is giving the best of rasanubhavam. All children are not alike and in creation and in form, naturally, beuty varies, even without any'decoration'. The compositions in KM with gamakams, is akin to chistled beuty.

Truly, the practitioner's and the performer's defective handling should not become the benchmark for the judgment. Undeniable fact is mastery of gamakams requires much more one's own appreciation, understanding, commitment in learning and performing over the plain note(s) handling.

One's own sincere and unbiased listening experiences of compositions with plain notes and compositions with gamakams of Trinity will give the listener the understanding, appreciation and satisfaction.

Radhika-Rajnarayan · Post by **Radhika-Rajnarayan** » 18 Jan 2010, 13:16

Sri Munirao- where have I ever said that gamakams should be eschewed? I repeat again for your benefit - INAPPROPRIATE AND INACCURATE gamakams spoil the effect of the music.
This hair-splitting - 'all children are not alike' - PLEASE!! I am sure you agree that every single child on earth is lovely. And lovely by itself. All it needs is a simple pretty dress to make it look good. Often, not even that!

When you try to overdo anything, it spoils the effect.

Yes indeed, Arasi is right - expose the children to good music of all kinds - and if they do start learning, keep the music simple and attractive. The details and further intricacies will be appreciated a little later.

musicfan_4201 · Post by **musicfan_4201** » 18 Jan 2010, 13:31

I have been trying rather hard to inculcate CM interest to my kids. Constant playing of the best of the CM music (vocal / Instrumental), HM etc over the years from the time they were born did not make any difference. They were trained for a couple of years under good music teachers. That also did not help. But they are interested in music which is not CM. My younger one is learning guitar now and her progress is quite good.
Therefore I doubt if constant playing, attending kutcheris etc are going to make any difference unless they have an inherant interest in the art form. The only CM base music that attracts them is GNB's film songs

cienu · Post by **cienu** » 18 Jan 2010, 15:02

musicfan_4201,

At this stage you have tried your best to give exposure & you should leave it at that.
A cousin of mine who had absolutely no interest in CM in his early days was many years later when studying in the US, overwhelmed by Semmangudi's Diwakara Tanujam and has ever since been hooked to CM

musicfan_4201 · Post by **musicfan_4201** » 18 Jan 2010, 15:14

Cienu,
true, but my kid starting to learn guitar was her own choice and she is serious about it and interested. I am actually surprised to see her practice without being after her. Therefore, force will not help nor will trying to nurture interest. It is just the inidividuals aptitude.

cienu · Post by **cienu** » 18 Jan 2010, 15:39

I agree with your contention.

vganesh · Post by **vganesh** » 18 Jan 2010, 15:47

cienu wrote: At this stage you have tried your best to give exposure & you should leave it at that

Well said sir. Actaually an incident on gamakam..... When my son was learning violin at Bombay, the stress was not much on gamakam. But when we shifted to Chennai.. the teachers here were insistent on gamakam and almost he lost interest in CM. We poor parents do not understand CM so well except for "kelvi gyanam", took so much pain to explain and now he is trying to understand.
The point I am making here is that, it has to be facilitated by making taking them to concerts, talking them about music (CM) and hearing more. Leave at it. I have friends who were going to calsses in their younger days dislike CM now because parents pushed it then

musicfan_4201 · Post by **musicfan_4201** » 18 Jan 2010, 15:54

vganesh
It is not just the gamakam. String instriments specially violin is difficult in the initial stages. Students lose heart if they are not able to perfect what they learn. As you progress it gets more easier and also the interest matters.
In most of the cases it is the difficulty / lack of determination which discourages students in not pursuing the art.

vasanthakokilam · Post by **vasanthakokilam** » 18 Jan 2010, 21:54

Let us keep the two streams separate: Rasikas and students of music.

For a student, gamakams need to be introduced later on in the teaching sequence, especially for instruments. msakella has written extensively about this here in our forum. The little I learnt, up until varnam, it was all straight notes. And even the Mohanam varnam was first with straight notes. When my guru introduced me to play with gamakam, it was initially so difficult but once I got the hang of the technique, that is when CM bloomed for me as a student. I still remember this incident. The day or two after I was introduced to playing Mohanam with Gamakam, I was trying my hardest to play the S R G as S (SG) R G and kept repeating it. A CM rasika walked in and heard my struggle for a few seconds. She did not know I was just trying those notes. She said 'Your attempts at Mohanam Alapana is shaping up well'. I thought to myself "Ahh... interesting!!"

The rasika track is different. This thread is more about moulding/bringing younger persons as CM rasikas first. This issue about gamaka oriented music that G_M, R-R and I are violently agreeing is in that context. Though, it is possible that g_m's views on 'appropriate' gamakas may be different from R-R's and mine. I am trying to see if it indeed is. As we all know, each raga has well defined/accepted idioms of what notes can be rendered plain or with gamakas depending on the context. If that is the definition of 'appropriate' we are all on the same page. Younger people would be able to relate to that aesthetic of CM without having to dumb it down for their consumption.

musicfan_4201, a child need not be a student of CM. You can just sustain an interest in CM in the background. You can keep cultivating the interest by listening to music with them to the extent possible, talking about music with them, anecdotes and past history etc. Context and relatability are the keys. That will stay with them for a life time.

If they are scientifically or analytically oriented, there is that whole side of music in general and CM in particular that can attract their interest. ( Let me confess, until I was 16 or so, I did not know that a melody can be broken down into notes, though I was already educated on the physics of sound. I never had an occasion to think about music that way and it was a bit of a revelation.. at the same time it was a sad loss of mystery such demystification produces )

ganesh_mourthy · Post by **ganesh_mourthy** » 20 Jan 2010, 16:30

vasanthikokilam, are you an instrumentalist?

musicfan_4201 · Post by **musicfan_4201** » 22 Jan 2010, 19:01

haribabu wrote:Today, many youngsters are showing interest in the classical form of Arts.
Bringing the right attitude in these youngsters to learn these forms of arts has to be guided with patience and motivation by the Gurus. This is possible only when Gurus encourage younger generation with the positive attitude to preserve or safe guard our music. Just writing books will not help society and only with the books neither a musician nor a rasika can born . Without Good Rasikas there are no good Musicians. Reaching standards never a problem when one has interest in it. Protecting the interest in younger generation with right encouragement is the most important factor today. There is no problem with the younger generation at present since many of the parents around the world recognized the value of our classical forms. They are finding problems with the Gurus only. Some of these gurus, canÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢t guide the talent patiently and at the same time mislead parents by blaming the other musicians . The parents are in a dilemma in trusting musicians today. First, GURUS should generate interest patiently in the children coming to them. People are making time to learn these arts now a days. Protecting them to stick on to these arts is lying with our Gurus and those GURUs who do not have patience to teach good talent but have the patience in projecting their own talent are no use for the society .

There seems to be a complete disconnect in your understanding of the topic being discussed. Where the writing books by gurus, bad gurus , good gurus etc etc have been discussed and debated and how is it relevant here. Seems to be a rant in your part with a motive in mind to criticize.
Suggest write which is relevant to the topic!

munirao2001 · Post by **munirao2001** » 23 Jan 2010, 10:45

haribabu
All the young maestros, without exception, are expressing gratitude to their Gurus-direct and manasika for helping them to reach the status in KM as performers of considerable merits. On the contrary, many Gurus are expressing their anguish that many of the sishyas are not exhibiting the humility required, the shradha and bhakthi required to learn and master the art. They are more interested in quick success and demanding techniques required for achieving the quick success.
Youngsters really need help from Parents, peers and their idols to motivate, provide opportunities to get interested in Classical Music. They must be given the knowledge, when they seek, without any reservation. Encouragement without any prejudice or bias in both learning, listening, enjoying and performing. Adequate sense of security to pursue CM must be created through support systems. Timely recognition and reward based on pure merits, will be the main factor in creating value in youngsters-naturally idealistic at their age. When majority of youngsters-uninitiated, find performers least popular and less financially secure when compared to other genre of music, their risk perception being high in pursuing their interest in Classical Music, as student and listner. Total system needs professionalization to attract, encourage and support youngsters to take to Classical Music, CM in particular.

VK RAMAN · Post by **VK RAMAN** » 23 Jan 2010, 20:00

haribabu - does this include creating a CM environment by parents and parents showing interest in CM?

vasanthakokilam · Post by **vasanthakokilam** » 24 Jan 2010, 04:49

ganesh_mourthy wrote:vasanthikokilam, are you an instrumentalist?

Flute, a dabbler!

munirao2001 · Post by **munirao2001** » 25 Jan 2010, 10:46

haribabu
In the present times, with information access being relatively easy, the students approach Gurus, with specific knowledge, target and goal. While the knowledge seeker has to be constantly inquiring and searching for the new knowledge, student should understand the role of Guru clearly, first and foremost. Guru while imparting the knowledge with love and care, his main role is to kindle the quest for the right knowledge and make the student to appreciate the benefits of discipline, sadhana and focus on achievement of excellence. Facilitate and enable the student , with excellence to achieve the Self actualization. Having achieved self actualization, make optimum use of his knowledge and sadhana by upliftment.
Rejection or lack of recognition and rewards lead to dissastifaction. While focussing on the richness of the knowledge being shared/imparted, human frailty or weakness has to be understood as real and with maturity, the aberation to be ignored. Freedom from pride and prejudice, commitment, dedication, total focus, the quest and love for the knowledge and perfection are the pre requisites for both the Gurus and students. The effect of failures, leave bad taste, memories and resultant misbehaviour. Conditioned mind affects and limits. One must get over and restart, afresh, anew and pursue the goal.

While not denying the contributions and roles of Gurus and Senior Vidwans, the Knowledge is not constrained nor limited, but supreme. Success and growth are the true reflections and examples of exemplary Gurus and Sishyas. The failures and its analysis, give good lessons.

All the stake holders of Classical Music must realise and act for the continued growth and its success by the additions of more and more youngsters.

babaji · Post by **babaji** » 27 Jan 2010, 14:53

To quote from my experience though my parents belonged to a family of once upon a time musicians who though not famous restricted their popularity to a certain area did'nt protect and keep the art from fading though my father learnt mrudangam due to family circumstances he was left at a choice of whether its music or education and he opted for the latter not because he lost interest but because the situation at that time was like that. However he wanted to transfer the knowledge to his sons but he did'nt really introduce the cultural and traditional background that was much required for music rather we picked it up just like that.
And i strongly believe that music is an transcendental art form wherein nothing much needs to be done more than what we are doing now. The music Attracts its followers on its own when the time is right. Like they say in puranas after years of remaining dumb he found out his guru at that particular time, is probably the context that we are supposed to take it as. We need'nt look for it it will come looking on its own for us. However efforts never fail and we can try our own methods.

drsunder · Post by **drsunder** » 09 Sep 2010, 20:11

Well, I have been trying to do my part. I have participated in about 20 programs in schools and the size of the audience of school children has been limited only by the size of the hall. This is very similar to the Build a rasika initiative by the YACM, way back in 1987. The maximum crowd was at Neyveli [about 1400]. There were crowds of students upwards of 500 in Thanjavur, thiruvarur, mayavaram, Rajapalayam Tirunelv eli, Trichy and Kumbakonam. J.Balaji, Tanjavur Kumar, Srinivasa Rao, VVravi, Vijay siva, Suryaprakash, Madurai GSMani, Sriram Parasuram Ravikiran, to name a few, have accompanied me on these musical journeys! The sound of the children clapping is compensation enough!

venkatakailasam · Post by **venkatakailasam** » 13 Sep 2010, 07:14

Yes indeed, Arasi is right - expose the children to good music of all kinds - and if they do start learning, keep the music simple and attractive. The details and further intricacies will be appreciated a little later.[/quote]

The one man who take efforts in this direction of spoting , training and give exposure to them for big music is Abaswaram Ramji-be it vocal or instrumental.
we have seen the recently concluded Balabrammam program brought out by him with the help rendered by Jaya TV. Some of them rendered out standing performance. Some of his students
participated in the earlier Bru carnatic music idols and has come out exceedingly well.
Erode Anantaraman is a product of his Isai Mazalai school.
We can wish him well in his efforts.

All the 51 Balabrammam performance are available in you tube in my channal at
http://www.youtube.com/user/vkailasam

venkatakailasam

venkatakailasam · Post by **venkatakailasam** » 13 Sep 2010, 07:18

Carnatic Music Idol Competition is also being held in USA also.

Details are available at :

http://carnaticmusicidol.com/
venkatakailasam

venkatakailasam · Post by **venkatakailasam** » 22 Oct 2010, 14:25

There was an interview at JAYA TV of Master Abhishek Krishna. A portion of the interview is at

http://www.youtube.com/watch?v=bGq9qdZshsE.
He is a student Of Shri Neyveli santhana gopalan. What he is telling about himself has been posted in the above clip in the information box . He is still in early teens.

His receiving 'Sangeetha Bhaskara' Title is in this clip;

http://www.youtube.com/watch?v=hVw1iJfFmNQ

You can listen to his "ee Vasudhaa" inSahaana here:

http://www.youtube.com/watch?v=I1k6CfKWzCI

venkatakailasam

venkatakailasam · Post by **venkatakailasam** » 22 Oct 2010, 14:31

The one man who take efforts in this direction of spoting , training and give exposure to them for big music is Abaswaram Ramji-be it vocal or instrumental.
we have seen the recently concluded Balabrammam program brought out by him with the help rendered by Jaya TV. Some of them rendered out standing performance. Some of his students
participated in the earlier Bru carnatic music idols and has come out exceedingly well.
Erode Anantaraman is a product of his Isai Mazalai school.
We can wish him well in his efforts.

Just a word of appreciation of Ramji's hard work in this regard in this fourm is not forth coming.
Quite unfortunate !

venkatakailasam

Nick H · Post by **Nick H** » 22 Oct 2010, 15:14

Just a word of appreciation of Ramji's hard work in this regard in this fourm is not forth coming.

Then I will add on. I don't know why I have not been to more of his youngsters' concerts, but I only recall one. The quality of this concert, especially considering the very young age of the performers, was very high, and the presentation was entirely professional.

Thank you for reminding me. We should support such a venture, and I will try to attend again soon.

rasikas.org

Bringing carnatic music among youngsters

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