Questions on Carnatic Music Learning

[asangeetha]

Would love to hear some thoughts on some topics in Carnatic Music learning..

1) "One must be blessed by Brahma to have taste and knowledge in music" according to Tyagaraja in his composition, Sitavara in Devagandhari. Everyone has a right to learn music and some would fare and progress better than others.. granted. And of those who learn, only very few would be destined to be performers. My question is, when natural talent is not in the equation, does the student have any hope of becoming a good musician just through hard work alone? Would this pose a dilemma to a guru..whether to encourage the student to put 100% efforts in this pursuit or gently ask them to pursue other career options as well?

2) What is the measure of true success in Carnatic music learning? Is it becoming a well regarded performer, or a well regarded teacher or could it even be deriving immense personal satisfaction from the knowledge gained in learning this art form? Do competitive shows in Carnatic music detract from the goal of elevating a student to loftier ideals or rather encourage students to aspire for higher technical standards? It should be kept in mind that this music was composed by highly enlightened souls to express their feelings and bhakti. The technical acrobatic material got introduced at a later stage to feed the intellect. The goal of any music is to allow expression of thoughts and communicate feeling, either that of the artiste or the composer, in my opinion.

3) Does the current format for teaching Carnatic music need a revision? Read an article recently about how the education system is lacking in so many ways and actually trains children to stop thinking creatively..

http://www.youtube.com/watch?v=zDZFcDGpL4U

Since creativity plays a big role in Carnatic music as well, can we actually change the teaching methodology or introduce new concepts to make learning fun AND scientific? I have heard Sri Akella ji talk about his innovative methods, would love to hear other views as well. My point is not that what we have is insufficient, but how do we retain the creative aspect when teaching music right from the beginning ?

[msakella]

Dear brother-member, asangeetha,

the education system is lacking in so many ways and actually trains children to stop thinking creatively..

In the last paragraph of your post you wrote about my innovative methods and invited other views which means I need not write again about these methods. OK. I shall not harp on my methods again. That is understood.

In the last sentence of your post you wrote that what we have is sufficient but how do we retain the creative aspect when teaching music right from the beginning? But, as per my observations since many years, I have found that what we already have since many centuries is highly insufficient and inefficient in inculcating creativity in the kids learning music. This has very long ago been proved beyond any doubt that we have been able to produce the talented artists of even less than 20% only by this useless method of quantitative teaching and we shall certainly be able to produce the talented artists of more than 80% if we shift to qualitative method of teaching. Unlike in any other systems of music in the world since the spontaneous creativity plays a very big role in our Carnatic music, we must change the teaching methodology or introduce new concepts to make learning fun AND scientific. This is the absolute truth and even every aspirant or his/her parents truly and truthfully want this. But, how many of the music professionals who are highly interested in their own money-spinning mostly by concerts in this country or abroad or by engaging tuitions in their lean period or in working out to receive honours or titles or awards but not in the welfare of our own kids will come out openly and honestly for constructive discussions is a big question as all the aspirants and their respective parents are dependents mostly on these cheaters and parasites only (having spent much of my life along with these cheaters and parasites I could only locate these people but not others). amsharma

[asangeetha]

Dear Akellaji,

Thanks for your reply. I think its wonderful that you have taken efforts to improve the system of teaching Carnatic music. I truly appreciate your work and have tried to understand your methods to some extent. Its great that you have given a lot of importance to introducing the concept of teaching rhythmic aspects right from the beginning. I also noticed that you have isolated the concept of gamakas and believe in teaching those individual oscillations before teaching varnams or krthis. I had some questions about this method and your experience with teaching children.

Children are the hardest to teach, not only does the teacher have to be extremely knowledgeable but also has the added responsibility of making learning fun. Children are not so patient to sit through a teaching methodology which might be extremely effective but lacking in the 'fun' or 'appeal' factor. Having worked with children that are extremely talented but easily distracted, I pose this question, how can one induce such a student get involved in this learning methodology that you have described without getting mental fatigue?

My favourite technique of teaching is one which seamlessly blends together technical matters with the artistic nature of music. The guru has to be well qualified to take on this responsibility, having the ability to impart technical knowledge as well as the ability to floor the students with their artistic abilities and impress with beautiful music. Ultimately the music has to come through, I have seen even the unruliest students calm down and sit quietly when listening to truly divine music.

Please correct me if I'm wrong Sir, I am only asking if my understanding of this teaching methodology is correct? Instead of teaching gamakas in isolation, could the same method not be applied to pointing out the nature of the gamakas in actual songs? Developing the ability to listen and reproduce is the highest skill a student should develop. The ability to understand a gamaka just by listening is also an important aspect , is it not? The teacher could always use the concept of explaining a gamaka in terms of its inherent notes or 'anuswaras' to help the student understand better or even visual aids such as demonstrating with an instrument. Over a period of time, the brain naturally learns all the variations of a particular oscillation, I have even seen kids doing this very easily. The more they learn, the better they understand. The responsibility of ensuring that the student renders the gamakas correctly however rests with the teacher and this is a base assumption.

In conclusion I would like to say that teaching methods may vary, but a good teacher ( one who is knowledgeable, has a passion for teaching, and a gift for thinking creatively, ) can always get the matter across to even the most challenging student. And I am blessed to have such a guru as many others are...

[msakella]

Dear brother-member, asangeetha, At any time and place I can certainly give the logical answers to any of your questions or, to the matter of fact, to any question of any person which needs lot of concentration and effort to write a detailed post at this old age and also when I am very busily engaged in a very important work pertaining to the enlightenment of our kids. But, my previous experience warns me that there is no use of arguing with an anonymous person. If you leave your anonymity and come out I shall certainly answer all your questions. However, if you patiently go through all my previous posts you will certainly find the required answers. amsharma