Vidyarthi 2014 - An exciting Summer Workshop from 21-24 May

ifcm_rfi · Post by **ifcm_rfi** » 16 May 2014, 13:26

The International Foundation for Carnatic Music & http://www.acharyanet.com

Present

Vidyarthi 2014 - An exciting Summer Workshop from 21-24 May

by Guru Neyveli Santhanagopalan & Sangeet Samrat Chitravina N Ravikiran

Session 1: Compositions of Tanjavur Shankara Iyer by Santhanagopalan (May 20, 2014 - 5 30 pm)

Session 2 : Harikeshanalloor Muttaiyya Bhagavatar krtis & Tevarams/ Tiruppugazh-s by Neyveli Santhanagopalan (May 21, 2014 - 5 30 pm)

Session 3 & 4: Muttuswamy Dikshitar’s Varakrtis (Week songs on prominent planets) by Chitravina N Ravikiran - (May 22 & 23 - 5 30 pm)

Session 5 & 6: Kamakshi Navavaranams of Oottukkadu Venkata Kavi by Chitravina N Ravikiran (May 24 - 10 am to 1 pm and 2 to 5 pm)

Venue: Arkay Convention Center, Mylapore, Chennai - 4

Open to: Students with a minimum repertoire of 20 varnams/krtis

Registration: Email [email protected]

Spot registration at the venue can be availed by limited number of students.

Call: (+91) 9962463417, 9003209611, 98410 30480

msakella · Post by **msakella** » 16 May 2014, 17:30

Right from the start of the primary lessons up to Varnas if the aspirant is efficiently, honestly, sincerely and properly initiated to learn the intricacies of the grammar of Laya and Swara on his/her own, later, he/she certainly becomes able to learn all other compositions along with Manodharma Sangita on his/her own. This is the true methodology of learning music and all others are wasteful for any aspirant.

On these lines, with reference to http://www.rasikas.org/forums/viewtopic. ... 03#p221203 I have already held a workshop on Svarakalpana and Ragalapana very successfully for six days in Kerala State. Then I did not teach them even a single composition in this workshop but I made them learn things on their own to proceed further confidently and efficiently.

I sincerely hope that our legends, maestros and experts will realize this, even now, and act positively in initiating the aspirants learn the needed grammar of Laya and Swara to learn the needed compositions on their own for the benefit of our kids and their parents. amsharma

msakella · Post by **msakella** » 18 May 2014, 14:46

To tell the truth, after going through the 1st post of this sub-thread I felt very sad and very bad.

There are two very important aspects in this important post. While one of them reveals the irresponsibility of the so called legends, maestros and experts of music, being also the reputed teachers, in the non-making of the aspirants sufficiently knowledgeable in the needed intricacies of music to proceed further and the next one brings out the insensibility of the public in getting the legitimate training in music to their kids.

In this post students with a minimum repertoire of 20 Varnas/Kritis are invited and, here also, there is a very important point to observe.

The duty of the teacher is to make the aspirant sufficiently knowledgeable in the respective technicalities to move further and further on his/her own confidently and efficiently but not in making the aspirant learn more and more number of compositions. Even in respect of their own students of these legends or maestros or experts, even after learning 20 Varnas/Kritis, if they are not in position to learn more compositions on their own but learn them by attending such workshops only what is the use of learning from these legends or maestros or experts I do not understand. This itself indicates that they are legends etc., in performing only having performer’s perspective but not in teaching at all having teacher’s perspective.

While, on one side, the so called music-teachers are very conveniently continuing their irresponsible teaching at the cost of the time, energy and money of the poor and ignorant aspirants, on the other side, even the knowledgeable persons are turning a deaf ear in this respect indirectly helping these teachers in squeezing the poor aspirants and their parents. That is the pity. amsharma

jodha · Post by **jodha** » 19 May 2014, 19:22

Sharmaji,u r right.but driving a mercedes benz may not be possible that
Way. /:)

chitravina ravikiran · Post by **chitravina ravikiran** » 19 May 2014, 21:37

Akella garu,

Namaskaram. Just one point which should be very well known to a great guru like you - there is no single path in this. Learning compositions of high caliber can be the fastest and most effective way of progress in many cases. The key is for a student to be able to get a reasonable overall balance between compositions and improvisation, balance between lakshana and lakshya with strong content and delivery, in 5-10 years at least.

Various gurus - some of who have been the greatest performers CM has seen - have adopted diverse methods with amazing successes over the last few centuries, as history shows.

Regards,
Ravikiran

ifcm_rfi · Post by **ifcm_rfi** » 19 May 2014, 21:44

Sharmaji,

Your post is indeed interesting !!! But our team would like to point out very clearly that this workshop is intended to learn the best versions of great masterpieces from legends such as Neyveli Shri Santhanagopalan & Chitravina Shri Ravikiran, who are revered as two of the greatest musicians from the Carnatic music field, who have not only held a steady track record as world renowned performers, but also hold an unparalleled record of producing some of the best upcoming musicians and stars and this track record speaks much louder than posts written to thwart this effort.

We are thankful that such great maestros have benevolently agreed to teach these brilliant masterpieces for a very nominal fees as a very non-commercial gesture....So I really hope other great teachers such as you, appreciate the efforts taken by organisations to promote music and preserve the masterpieces than try to dismiss such efforts without a second thought !

MVRamanamurthy · Post by **MVRamanamurthy** » 20 May 2014, 05:29

Akella is one hundred percent is right. Nowadays songs are taught. But not music. What Akella aims is to teach the way music is as enshrined in the original scripters only, using modern technological aids. This deviation is inevitable. By his easy methods teaching and training learning is fast. Traditional teacher is modernized in physical form but not in intellectual form, keeping the cardinal essence intact. A Nobel mission. As at present artist use modern gadgets in their performance, sharing, theatres, travel etc. Why an artist is accepting such things is best known to all. When the Question of modernizing teaching all stumbling blocks the same lot are putting across. Unwise. Adoption with modernity, not compromising on the content is the true spirit behind it. Not more or less. None are able to appreciate to do this. Not a healthy sign.

This raises a just apt mute Question: Are the teachers are incompetent? The whole art is now on imitating basis and as copying (Xerox). Then where is the creativity? Dr. MBK is a living legendry, who is creative may be among may be others.. His every concert is innovative. That is manodharma. Mutual appreciation society is thriving. Vidyargthi wrote “driving a mercedes benz may not be possible that Way”. Clarity is missing. Kindly provide explanation for clear clarity. I do not have trust in the tittles.awrds.follwing etc. Each one is a judge themselves. That is true knowledge (know yourself)
Kindly visit:

Abstract: http://www.academicjournals.org/journal ... 37A4066278
Full paper: http://www.academicjournals.org/article ... murthy.pdf

virually Wishes, M.v.Ramanamurthy,
68-1-3/1, Netaji Street , Ashok Nagar,
Kakinada .... 533 003, Seemandhra, India.
LL: +918842346644. Mobile: +918985762499

msakella · Post by **msakella** » 20 May 2014, 13:53

Chi. Ravikiran dear,

Blessings. I very well remember that elsewhere in these columns I wrote that, only basing upon the amazing end-results of our kids in learning music, now, I believe that I could become a successful music-teacher (not a Guru at all) very slowly arriving at the level of marks between 50% & 60% (while the pass mark is 40%) at this old age of 75 only. After many kinds of failures as a music-teacher in my life, only by the grace of the Almighty, that too only 5 years after my retirement as teacher, I could introspect myself properly and very deeply and been blessed by HIM with many of these easy methods which have nowhere been furnished. Surprisingly enough none of them are known to anybody being on the other side of the coin. In course of time all of them have very well been tested basing upon the end-results of our kids. In this process only I have found that there is only one mode of travel to arrive at the destination but from different directions.

In which way stitching a lengthy dress with a heavy and valuable cloth is not at all the fastest and effective way of getting progress in learning stitching learning compositions of higher caliber is not at all the fastest and most effective way of progress in learning music as always thought by all the musicians. In the same manner between 1 and 5 years of duration is far more than enough to get the so called reasonable over all balance to anybody but not at all between 5 and 10 years.

As you wrote I agree with you that there are greatest performers. But, had there ever been even a single efficient, honest and sincere teacher, the process of teaching/learning of our music would have long ago and very well been standardised and our kids would have certainly been saved from many of their hardships in learning our music very quickly and efficiently.

Ultimately, I have found that all these music-teachers are the sole cause for all the hardships of the aspirants all over the globe and the poor aspirants are the ultimate sufferers for all the short comings of these music-teachers. That is why I never find anything wrong in calling them all music-cheaters.

If you bring any music-teacher along with one of his/her best disciples I can very well tell his horoscope. If you really bring such an efficient, honest and sincere teacher I shall ever bow down to him/her. Since last more than 20 years I have been in search of such a noble music-teacher but in vain. amsharma

msakella · Post by **msakella** » 20 May 2014, 13:55

Dear ifcm_rfi,

I have every regard towards all these performers being one them for many years.

But, in respect of music-teachers I have my own convictions and many will not appreciate even if I tell the truth in this connection.

I have my own acquaintance with both Chis. Chitravina Ravikiran and Neyveli Santhanagopalan.
Sometime back I have even held a workshop for 3 days on Svarakalpana and Ragalapana with reference http://rasikas.org/forums/viewtopic.php?f=3&t=8651 at the residence of Chi. Neyveli Santanagopalan and you can verify his experiences, if needed. amsharma

msakella · Post by **msakella** » 20 May 2014, 13:56

Dear brother-member, MVRamanamurthy, Thank you for bringing out the truth, though not appreciated by many. But, ultimately, truth only wins. amsharma

msakella · Post by **msakella** » 21 May 2014, 07:38

Chi. Ravikiran dear,

All the musicians are always used to sing or play themselves and make the aspirants also sing or play along with them. This is the only way of teaching or learning music which the entire world knows. In this method the aspirant is entirely dependent upon the teacher. Without teacher he cannot do anything in this system. Very intelligently all the music-teachers are availing this opportunity to meet their selfish ends.

Can you, by any way, eliminate or even reduce the role of the teacher in this process and make the aspirant independent in doing things? Please think over very seriously and it is the permanent solution for all. The Almighty blessed me with this solution only and, here, we all are able to do amazing things which nobody would even dream of.

I sincerely hope that you, being very intelligent-stringed-instrument-player, can get through if you think very100 seriously. If not, if you are truly interested in serving our people more efficiently, honestly and sincerely, come to me and I shall guide you. amsharma

hnbhagavan · Post by **hnbhagavan** » 21 May 2014, 08:54

Dear msakella sir,

Pardon me.I am only a rasika.I am little surprised to note your view that there has not been a single teacher who has taught sincerely.I beg to differ.
Example:Malladi bros - students of Nedunuri Krishna murthy
Pattabhiramapandit - Sri KVNarayanaswamy
There are many front ranking musicians who are performing - students of Lalgudi G Jayaraman
Bombay Jayashree,T Rukmini, Saketaraman etc.
sanjay Subramanyam - student of Calcutta Krishna murthy.
One could not have become performing musicians without sincere teaching by gurus.

hnbhagavan · Post by **hnbhagavan** » 21 May 2014, 09:06

In continuation of my post i would like to point out that Sri Neyveli santanagopalan was himself a student of Srt TN Seshagopalan
Sri R Suryaprakash is from TV shankaranarayan.
Sri MS Akella may have performing artists - I do not know.
I know for a fact that Sri Ravikiran has been a good teacher.
This is apart from children of great maestros GJR Krishnan,Viji,Narmada etc.
Does Msakella sir mean that workshops should without pre condition - like 20 Varnams etc.?
This can be perhaps examined by experts.

varsha · Post by **varsha** » 21 May 2014, 09:07

“I am master of my spoken words and slave to those which remain unspoken.”
― Ankita Singhal

tiruppugazh · Post by **tiruppugazh** » 21 May 2014, 09:53

also hold an unparalleled record of producing some of the best upcoming musicians and stars

:ymsigh:

msakella · Post by **msakella** » 21 May 2014, 10:42

Dear brother-member, hnbhagavan, When a scientist, at the first instance, declared that earth is round but not flat, there was a very great opposition and, ultimately, he was killed by the people. You cannot believe me if I tell that my case is also the same.

However, as I am almost at the fag end of my life at 75 years of age and, by the grace of the Almighty, I, for the first time in the history, was able to serve our society more efficiently, honestly, sincerely, truly and truthfully than any other musician on the earth, I don’t need to feel anything against if I am also killed in the same manner as I fully depend upon the Almighty for each and everything.

Having really become vexed with this writing business all along since almost 23 years of my age (since last more than 40 years my day was starting from 1 am and I was compelled to write three books of their own kind on theory, Talaprastara and four books of their own kind on practicals each book supplied along with pre-recorded CDs - I wrote all of them with pencil only and corrected them hundreds of times as they all are written for the first time in the history) and almost at the saturated point, now, I try my level best to avoid writing. That is why I cannot give full explanation writing in these posts. Interested persons can come and meet me in person and I am fully confident that I can convince each one of them with my views as, believe it or not; all my views are only the blessings of the Almighty and are very strictly logical and rational.

However, I can very strictly make only one thing very clear. A true teacher sings or plays only 1% or even less than that and makes the aspirant sing or play more than 99%. This is my notion which was blessed by the Almighty only. You yourself can very well tally with all the cases you wrote. More than this I cannot write anything here in reply to your two posts. I beg your pardon for this.

Even I am the disciple of Shri Nedunuri Krishna Murthy and the most of my knowledge in music is his blessing only. But, believe it or not, he did not teach me anything and he himself doesn’t know that until I reveal it to him. That is the fun.

There is every possibility of mistaking me in this respect unless I myself define all the unbelievable things in person to anybody. Until such time I can’t help anybody if I am found wrong.

He Bhagavan! Till now you are only the first person who wrote ‘This can be perhaps examined by experts’. Till now none of them truthfully approached me ever and tried to find out what and why I have been writing all these useless things just like a brainless fellow. If they do that they can also serve the society truly and truthfully like me and the society will truly be benefited, unlike in the past history.

I am neither the master nor the slave of this life as this is the life of the Almighty only and I am nowhere. Let us all wait and see what has been destined by the Almighty. amsharma

hnbhagavan · Post by **hnbhagavan** » 21 May 2014, 11:05

Msakella sir,

I thank u for your reply.I can once again suggest that there is a case for examining all the points mentioned by you.

MVRamanamurthy · Post by **MVRamanamurthy** » 21 May 2014, 11:08

I could sense the incompatibility and incongruence that is keeping in the debate., As what, I note: Akella is not claiming anything, except he is voicing, that he has developed a system that was built on his 4 decades of mistaken teaching (His teaching means the conventional or traditional teaching as is in vogue that was followed by one and all), which, he could rectitify for the betterment of the students. Further he states the students that were benefited, he wish to put on dais for anybodies verification. In the fitness of the things it’s healthy to examine his methodology with open mind, soul and heart and put his methodology for an Acid test. If succeeded it is well and good for adoption, otherwise hit him hard. Except, this, there is no point in such protracted discussions, wherein, there is no point of return. Surrender self (ego) to succeed. . .

msakella · Post by **msakella** » 21 May 2014, 14:05

What our brother-member MVRamanamurhty wrote is absolutely correct. But most our people are more interested in self-aggrandizement than in self-less service in doing things for the society. However, I am ready to give the full details of it to anybody if he/she properly uses it to serve our society honestly. Here at Secunderabad, in our music-institution, Swarabhangima a team of people including teachers, organizers, parents and kids are following this system whole-heartedly and getting amazing results for the first time in the history. Interested persons can visit this place and test anything in anyway they like. Our doors are always open to any knowledgeable person. amsharma

hnbhagavan · Post by **hnbhagavan** » 21 May 2014, 21:26

Dear Sri Msakella,

Some how I am tempted to write once again as to why in your opinion,so far there have been no good teachers in spite of long list of performing artists mentioned in my earlier column.It looks as though you do not consider some of the legends who have produced performing artists as good teachers.
I appreciate your sincere view that a student should be able to deal independently and learn compositions by his effort .
You are much more learned than a Rasika and hence I am forced to write.

msakella · Post by **msakella** » 22 May 2014, 02:07

Dear brother-member, hnbhagavan,

Thank your for your kind appreciation and I sincerely appreciate your enthusiasm in knowing the logical view of the things,

In fact, at this fag end of my life and as I need not expect any favour from any corner, I don’t hesitate to write anything in these columns. But, as people, mostly having more selfish motive, are unable to look into the logical view with their jaundiced eyes, there is every scope of mistaking me. Even then, in fact, I don’t care. But, having become unable to manage with my righteousness and frankness, people readily try to harm the system I have brought out. That is why sometimes I constrain myself.

Once one Principal, having become unable to face me, failed my brilliant student in the examination. This is but natural with many people nowadays, we can’t help. But, as this logical and rational system of learning music very well started functioning and spreading here successfully like a wild fire going beyond the control of the local musicians, now, I can reveal even some of the truths to the outside world.

All the musicians and music-lovers think that the legends and maestros have produced a number of stalwarts or teachers. It is not correct. To tell the truth, none of the legendary performers did ever produce either a good performer or a good teacher. The highly talented disciples of them could grasp many things, could practice a lot and become the stalwarts themselves on their own accord but not on their teacher’s accord. Many cannot even understand this as they are not true teachers.

In my extensive research on the learning (not teaching methods) methods of our music, I have found that there are three main divisions in this process and they are 1.the efficiency of the system like the main-power-house of the electrical supply 2.the vigilant guide or teacher like the supply wire between the power-house and the residence and 3.the enthusiastic aspirant like the end-consumer. If the main-power-house is full with power, if the supply wire between the power-house and the residence is strong enough to carry the power successfully like a guide or teacher who very ably and vigilantly initiates the aspirant in doing things and if the enthusiastic aspirant is perseverant enough in receiving things with the support of his/her parents the aspirant can shine as a legend or maestro or expert but not as a teacher. The performer always strives hard only to perform efficiently to satisfy the listener and he/she has no other duties. But, the teacher has to very ably shape a person having very different kinds of duties and responsibilities, if at all he/she feels. That is the difference.

As I wrote elsewhere in these columns, had there ever been even a single efficient, honest and sincere teacher, the process of teaching/learning of our music would have long ago and very well been standardised and our kids would have certainly been saved from many of their hardships in learning our music very quickly and efficiently.

In my extensive research on the methods in learning music I have found that the person who sings or plays the minimum and ably initiates the aspirant sing or play the maximum can only be called as a true teacher (hope you will verify this with the persons of your list and inform). I very strictly follow this rule and mostly initiate the aspirant sing or play efficiently. To maintain this I have created many number of notated-aids, audio-aids and video-aids on which the aspirant mostly rely upon, follow, practice and proceed further very quickly, confidently and efficiently. amsharma

hnbhagavan · Post by **hnbhagavan** » 22 May 2014, 07:36

Dear Sri Msakella,

Thank you for your patience in replying to my posts.I appreciate the efforts put by you to standardize music learning.I agree with you that the people mentioned have put sincere efforts and learnt from the legends.But,it is also true that they have imparted their knowledge.It is difficult to judge,but many of the young performers are creative in their own way.Hence one cannot conclude that there have been no good teachers who have taught music.In fact some of them must have adopted your method knowingly or unknowingly.
For ex even in teaching mathematics,there appears to be no standard method in teaching.There are teachers who work many worked examples,but fail to teach the principles behind a topic.Such teaching is good enough to pass examination,but cannot sustain the student.
Similarly in music also this may be true and you have mentioned your efforts to make the student self sufficient.
As many young performers are able to sustain and continuously improve to perform on stage,some credit to the teachers who have taught them.

chitravina ravikiran · Post by **chitravina ravikiran** » 22 May 2014, 08:43

Dear Akella garu,

Thank you very much for many posts here clarifying your stance. I agree with you in general that students learning from performers have to learn more through observation and osmosis than those learning from full time teachers. But there is a lot more to this, if one were to analyse.

- Composers like Purandara Dasa, Tyagaraja, OVK and even Kabir Das have addressed many great qualities of a guru.
- Disciples of Ariyakkudi, Semmangudi, GNB, Brindamma, Pazhani Subramaniam Pillai and others have personally shared their experiences with their gurus and the passionate time, effort, energy and emotions that their gurus spent on each student. And the electrifying atmosphere in classes, which was so inspiring for them.
- The summary of all their wisdom boils down to one sentence:
-The greatest gurus are those who do not only teach but inspire.

the person who sings or plays the minimum and ably initiates the aspirant sing or play the maximum can only be called as a true teacher
Impossible to generalise this so narrowly. History shows that a good teacher will vary methods with respect to even the same student over time. What you have mentioned is also done occasionally. But when occasions demand, a great guru will hold hands by being more practically involved and exemplary. There are also times when a guru will say something cryptic without explaining, letting the students' thought processes evolve.

I have found that there are three main divisions in this process and they are 1. the efficiency of the system like the main-power-house of the electrical supply 2.the vigilant guide or teacher like the supply wire between the power-house and the residence and 3.the enthusiastic aspirant like the end-consumer.
A nice example except for one very important analogy! The guru is not the supply wire - he/she is the light that illuminates and eliminates the darkness of ignorance - the very meaning of the term "guru" in Sanskrit! The supply wires are the various methods a guru will adopt.

Regards,

Ravikiran

varsha · Post by **varsha** » 22 May 2014, 08:45

On Teaching
Kahlil Gibran
No man can reveal to you aught but that which already lies half asleep in the dawning of your knowledge.

The teacher who walks in the shadow of the temple, among his followers, gives not of his wisdom but rather of his faith and his lovingness.

If he is indeed wise he does not bid you enter the house of his wisdom, but rather leads you to the threshold of your own mind.

The astronomer may speak to you of his understanding of space, but he cannot give you his understanding.

The musician may sing to you of the rhythm which is in all space, but he cannot give you the ear which arrests the rhythm nor the voice that echoes it.

And he who is versed in the science of numbers can tell of the regions of weight and measure, but he cannot conduct you thither.

For the vision of one man lends not its wings to another man.

And even as each one of you stands alone in God's knowledge, so must each one of you be alone in his knowledge of God and in his understanding of the earth.
....
....
On Self-Knowledge

Your hearts know in silence the secrets of the days and the nights.
But your ears thirst for the sound of your heart's knowledge.
You would know in words that which you have always known in thought.
You would touch with your fingers the naked body of your dreams.

And it is well you should.
The hidden well-spring of your soul must needs rise and run murmuring to the sea;
And the treasure of your infinite depths would be revealed to your eyes.
But let there be no scales to weigh your unknown treasure;
And seek not the depths of your knowledge with staff or sounding line.
For self is a sea boundless and measureless.

Say not, "I have found the truth," but rather, "I have found a truth."
Say not, "I have found the path of the soul." Say rather, "I have met the soul walking upon my path."
For the soul walks upon all paths.
The soul walks not upon a line, neither does it grow like a reed.
The soul unfolds itself like a lotus of countless petals.

msakella · Post by **msakella** » 22 May 2014, 14:13

Dear brother-member, hnbhagavan, The performer always sings or plays the instrument, asks the aspirant also follow him/her in singing or playing the instrument and thinks himself/herself that he/she is efficiently imparting the knowledge of music to the aspirant. By this the performer only makes the aspirant imitate him/her in singing or playing but may or may not define the details of it. But, a true teacher may sing or play or may not but properly initiates the aspirant in learning things along with their detailed definitions on his/her own.

The performer has abundant knowledge how to perform well to please the listener. Whenever needed the performer tries to only perform and convey the needed knowledge to the aspirant through his/her performance only. But, a true teacher’s way of making the aspirant learn things is entirely different with that of the performer. As all are performers only but not teachers at all none of them can even understand my ‘language of learning music’.

Music cannot be taught or learnt but felt. The definitions, if at all they are defined by the teacher, could be learnt. That is why even the legends could not make all their disciples as successful performers and even some of their disciples have outshone their teachers.

One must understand that, in general, in any subject, the pass-mark is 40% and in the levels of the efficiency there are 60 more levels above this pass-mark which indicates how much nearer to the highest mark of 100 that much efficiency in the subject. This applies to each and every subject and even in efficient teaching of music also this level differs from person to person. Mainly in the performers, mostly having the performer’s perspective, the teacher’s perspective is far lesser. The teacher’s perspective of a person could properly be assessed by a true teacher only but not by a performer at all. While the performer has abundant knowledge only to perform a true teacher has abundant knowledge supplemented along with umpteen relevant short-cuts to arrive at the destination in the process of learning music.

Except some of our teachers here, till now, nobody on earth adopted my method in teaching/learning music.

Had there been even a single efficient, honest and sincere teacher, he/she would certainly have produced a talented kid within a very short duration and uploaded the respective video to the youtube like we did in respect our talented kids to prove his/her efficiency as per my earnest appeal made long ago. Better late than never, even now, if any teacher proves his/her efficiency doing in the same manner I shall certainly bow down to him/her. amsharma

msakella · Post by **msakella** » 22 May 2014, 14:15

Chi. Ravikiran dear, I cannot agree with you in many aspects as you are writing all your posts like a performer only but not as a true teacher as you are not at all aware of in which way a true music-teacher acts in properly initiating the aspirant in making him independent in all respects.
Nowadays, as every music-teacher invariably wants to enjoy all the advantages of the word ‘GURU’ but behaves very low in the absence of the knowledge of a true teacher, each and every music-teacher is trying to shield other music-teacher in every possible manner.

I certainly reiterate my sentence ‘the person who sings or plays the minimum and ably initiates the aspirant sing or play the maximum can only be called as a true teacher’ and certainly generalize this as I very well know better than any other music-teacher on the globe in which way a music-teacher must act. Narrow minded music-teachers may not agree with me. In my view the teacher is merely a supply-wire only to pass on the effective system efficiently.

Nowadays, if anybody suggests to go to Varanasi by walk or even by cycle he/she must be called as a rogue. In the same manner, nowadays, if any musician brings out a book with notated compositions but sell without any pre-recorded CD, why shouldn’t he/she be called as a rogue, I do not understand. Why don’t these musicians supply their notated books along with pre-recorded CDs containing the same songs sung in the same notation, I do not understand.

Again, in the same manner, even after learning 20 Varnas/Kritis if an aspirant has to attend another workshop to learn more number of new Kritis this is nothing but the defective teaching and the greedy attitude of the so called music-teachers to earn more illogically making the aspirants impotents in doing things on their own.

Most unfortunately, due to the ignorant aspirants and their respective parents, everywhere on the globe, this looting is running unabatedly. No musician on earth questions this as each and every musician does the same in his/her own way.

That is why my heart burns down in one sentence – The present Gurus are those who do not allow the aspirants learn music on their own but make them always impotents. amsharma

munirao2001 · Post by **munirao2001** » 22 May 2014, 16:05

Indian Classical Music has developed as one of the best music systems in the world music. For many centuries of development stages, the basis was karna parampara. Written music and lakshanas are recent history. Many did make extraordinary efforts on lakshana of music, with partial success. ICM is based on both the lakshya and lakshana, with primacy for lakshya. KM has history of Great Maestros-Performers; teachers and Performers as well as teachers. Teacher's role beyond technical aspects teaching is holistic development of the student with Bhaya, Bhakthi, Shradha and also Vinayam. Life's mission of the teacher fails due to absence of any of these qualities or even one of them. Observation, Inquiry, Reflection, Meditation are part of the creative efforts of the mind. Creative idea, anew, afresh can be either unknown or making more the known. We should be focused only on the goal and objective of partaking the skills and knowledge to those interested to excel and to those inclined to get interested. Humility of acknowledging the contributions and achievements and pride in one's own achievement qualities are welcome. Negative perceptions and declarations, unilaterally are most unwelcome and to be eschewed. Fulfilled existence is naturally based on both the Idealism and Materialism. Supplementing and complimenting each other.
With the goal of Karnatik Music to reach the masses-critical mass, many initiatives have to be taken by all the committed and dedicated, individually and collectively.
It is a fact that Karnatik Music teaching systems, methods and practices have to standardized-individual and institutional. The revised and final syllabus must be universal. The teaching tools and methodology must meet the requirements of students with varying requirements-Performer;teacher;critic;event manager; patron and rasika.
I am also making effort to begin a process/ a initiative for collective thinking and action. I am pleased to inform that MSAkella garu/Chitraveena Narasimhan Sir/Chitraveena Ravi Kiran and Sashikiran have assured their support to this initiative. I am in discussions with Mr.Arvind Brahmakal/Secretary of Karnataka Fine Arts Council, Bengaluru - a recently formed federation of ten leading sabhas in Bengaluru and also with Mr.R.V.Raghavendra Rao of Ananya.
Minimum what we can do is to welcome any meaningful initiative, uncritically.

munirao2001

msakella · Post by **msakella** » 22 May 2014, 20:30

Dear brother-member, munirao garu,

Irrespective of all other things, the first and foremost preference is to help our kids in each and every possible manner in learning our music and prosper both as able performers and reliable teachers.

Only by the grace of the Almighty, here in our music-institution, Swarabhangima at Secunderabad and along with 8 other local branches, having more than 250 school-going kids, we are able to implement a perfect plan in learning our music basing upon the AMS-Easy Methods. Ours is very strictly a logic based system getting amazing end-results within a very short span of 5 years for the first time in the history. After having struggled for many years to achieve this, now, I am fully satisfied with what we all are doing efficiently, honestly and sincerely to the society. I have already uploaded more than 700 videos for the benefit of our kids all over the globe and the interested persons can visit the playlists of AMS-Kids’ rendering Jatis & Swaras, AMS-Kids’ singing or playing Varnas & Kritis and other relevant playlists of ‘youtube.com/user/msakella’ for their information.

In this respect if I get any positive response from others I shall certainly co-operate with anybody. But, in case of any negative response I shall be compelled to restrict myself to my own place at this old age. This I want to make it clear in this respect. amsharma

hnbhagavan · Post by **hnbhagavan** » 22 May 2014, 21:27

Dear Msakella Sir,

I listened to Nandikeshwaran.Very impressive indeed.
http://www.youtube.com/watch?v=BsBpxb0ZQak

msakella · Post by **msakella** » 23 May 2014, 02:38

Dear brother-member, hnbhagavan,

Thank you for your kind and sincere appreciation. This is the development obtained in 2013 after learning for 2 years only when he was 8 years old. Now, in his 9th year if you want to see his progress along with the amazing progress of some other kids kindly visit the last posts of the sub-thread AMS-Easy Methods-2007-Teaching & Learning Methods under the main thread Music School. The entire credit goes to the efficient system of learning and the small kid for his hard-work made with the affectionate help of his parents but not me, the supply wire between the source of the main supply and the end-consumer.

My main point in this respect is to do things efficiently, honestly and sincerely for the sole benefit of our kids irrespective of the different systems or the different opinions or different conditions etc., etc. Not simply holding some workshops to merely teach the poor aspirants some new compositions for a price to earn money like holding some special classes to teach few English essays for the Graduates in Literature. We must feed them intricate grammar in Laya and Swara to strengthen their abilities to prosper in future but not mere compositions in hundreds.

To do this sincerely all the so called legends or maestros or experts or ordinary teachers like me, irrespective of their status and stature, must sit together, discuss things solely in favour of our kids and strive hard to implement them under a vigilant supervision at the earliest. Then only we can do something to our kids. If not, both our status and stature are waste. amsharma

hnbhagavan · Post by **hnbhagavan** » 23 May 2014, 07:33

Dear Sri Ravikiran sir,MSKELLA sir,

It is my humble opinion after reading several posts by the learned community,I feel there is a need to get together and discuss AMSharma's teaching methods.Additionally other experts can put forth views on teaching methods.

msakella · Post by **msakella** » 23 May 2014, 10:34

Dear brother-member, hnbhagavan, Yes, dear. As the responsible parents of our kids is it not the utmost priority to take it very seriously and do the needful immediately as on warfront for the welfare our own kids?

Having shamefully worked most of my service as an unsuccessful teacher and having sincerely prayed the Almighty I have been blessed gracefully by HIM with this flawless system of learning music. More over, I have continuously been testing it in so many ways and been finding it friendlier with the aspirants than the teachers also making the process much quicker and time-bound unlike in the past.

As the evolution takes its own pace, not on the day I was honoured with the TTK-Award on 01-01-2010 for the remarkable contribution made to our music, but today, in the continuous process of various tests, I can very proudly tell that more than 80% of the system has been found flawless. Even then I don’t want to declare it as the only reliable system in learning our music on the globe. But, I wish that most of our legends, maestros, experts and expert-teachers must discuss in detail the ins and outs of this system and coming to an understanding of the things they all must unanimously declare it in that manner for the benefit of our kids and their parents. Without further wasting our time this must be done at the earliest for the benefit of our kids, their parents and our music. amsharma

munirao2001 · Post by **munirao2001** » 23 May 2014, 16:51

With regard to teaching and teaching methodologies, different actions have to be taken with the goal of supporting the talented and supporting the listening, qualitatively and quantitatively more in numbers. The test of teaching methodologies will be the result of how many vidwans/vidushees have grown in numbers and also the numbers of learned rasikas. Benchmarks are the numbers of graded performing artists; quality teachers and teaching institutions; audience attending the performances.

chitravina ravikiran · Post by **chitravina ravikiran** » 24 May 2014, 08:07

Shri Muni Rao, Shri HNB,

I am fine to meet/discuss such things but some of my approcahes are documented in my books, lec-dems, workshops and in videos in www.acharyanet.com. This is a huge ocean and numerous great artistes and gurus have contributed with thousands of excellent methods over centuries that have not only produced fast results but enduring excellence. I am fond of saying that artistry is not a 100 M dash but a marathon!

Shri Akella garu,

I heard some of your students' tala exercises in Kambhodhi varnam and in Venkateshwara in Subramanyena. They are very commendable. Both the guru and students have put in quality time to get a reasonable grip on these things.

I am deeply interested to see some videos of your disciples playing/singing Sahana, Anandabhairavi, Nayaki, Yadukulakambhodhi, Ahiri and also masterpieces such as Pancharatnas, Navagraha krtis, Shyama Shastri's swarajatis, Kshetragna padams etc. Having been trained under the revolutionary Acharya Ratnakara Shri Chitravina Narasimhan, who taught us all the above plus at least 300-400 krtis before we were five and also presented me as a Vocalist in 2-3 hour concerts, I am positive that you would also have trained your own students in these vital aspects in Vocal and instrumental. It would be most beneficial for the music world to watch those samples, apart from the exercises and krtis like Evarura. I think that this would give a complete picture of your extensive research.

Regards,

Ravikiran

varsha · Post by **varsha** » 24 May 2014, 10:32

hnbhagavan · Post by **hnbhagavan** » 24 May 2014, 11:20

Dear Sri Ravikiran,

Thank you for your response and openness in appreciating AMSharma's methods.I had pointed out in my earlier communication about the students who learnt under great stalwarts like Sri Lalgudi,Nedunuri,Sri KVN etc.There are many performing artists who are disciples.Like wise you also have a number of performing artists.
Sri MSAKELLA has uploaded videos of children who learnt in his institution.
As Sri Munirao has pointed out,the final proof will be the number of disciple who are performing on the stage.

chitravina ravikiran · Post by **chitravina ravikiran** » 25 May 2014, 08:36

I also wanted to share the fact that my guru's methods have inspired numerous other parents and gurus (since 1969) to train their own students from infancy, with varying degrees of success. Here is a video of a 20-month old baby of my disciple, Bhavana, identifying about 40 ragas.

https://www.youtube.com/watch?feature=p ... Gzo2A-CxQ8

He has learnt a few more since then and if he were to be on the right track (passion, hardwork and direction), he could become more than just a prodigy, with God's grace.

msakella · Post by **msakella** » 25 May 2014, 17:40

Dear brother-member, munirao garu,

I heartily welcome your post mentioning the ‘benchmark’.

All are aware that presently only one traditional system in teaching/learning music is being followed by all the music-teachers all over the globe. In it, right from the beginning, the aspirant is made to sing or play a number of items serially imitating the teacher in the class and, at this time, the minimum required grammar is only taught. That is why I myself have named this as ‘quantitative system of teaching/learning music’. In this time-elongating system the knowledge of the so called Manodharma Sangita must be acquired by the aspirant only by constant listening, observation and hard work. Except in singing or playing themselves in the class and in making the aspirants also follow them in singing or playing no responsibilities are undertaken by these music-teachers in this system.

In the new logical system of learning music, right from the beginning, stabilization of the rhythmical abilities of the aspirant has the first preference as among the basic ingredients, Swara and Laya, discipline of Laya, the time-based movement, needs the primary importance than with that of Swara. Even in this crucial Laya, along with the even-chaturashra-gati, the aspirant who cannot manage with the minimum-odd-trisra-gati also will not be undertaken at all to teach music in our institution. In fact, had this kind of ‘benchmark’ been made mandatory for all the music-teachers or for appointments as teachers or Lecturers or Professors or Principals or for All India Radio grading and for all the music examinations the level of standards of our music would have entirely been different. But, who bells the cat?

Apart from this, unlike in the suicidal traditional system, proper initiation of the aspirant to regularly practice mostly relying upon the automatic-electronic-gadgets and holding the responsibility of inculcating the knowledge of Manodharma Sangita in the aspirant keeps this logical system far ahead than the highly illogical traditional system. In this logical system mainly the kid is initiated to practice much and learn things on his/her own and thus, the teacher sings or plays the minimum and initiates the kid sing or play the maximum.

Once I was invited by a concert-singing Sangita Vidwan to hold a 3-days workshop on Swarakalpana for 20 of his disciples of whom each one of them is either an A-grade artist or a concert-singer or both. But, when I asked them to reproduce a small-benchmark-rhythmical-exercise all of them have very successfully failed to reproduce it. By that without holding that workshop I came back. That Vidwan, being more of performer’s perspective, was not aware of the teacher’s perspective and failed to take proper precautions in respect of stabilizing the rhythmical abilities of his disciples. Thus, than the number in graded performing artists or teachers or institutions, quality is more important.

To tell the fact, in the process of meeting their selfish-ends, most of our legends or maestros or experts have never cared to restrict the intrusion of inefficients right from the root level in maintaining healthy standards. Due to this carelessness the standards of most of the music-institutions and music-departments of several Universities have deteriorated and arrived at the deplorable and irreparable condition. Unfortunately, none of them is even aware of this or ready to agree but very conveniently turns a deaf ear towards such defects. To tell the truth, though bitter, I don’t think that the so called legends or maestros or experts who are more with performer’s perspective and strive hard for their self-aggrandisement only, can never truthfully serve the cause of music like an ordinary freelance music-teacher who strives hard for honesty and sincerity.

If we maintain true standards public will automatically follow us and the same is happening in our institution, Swarabhangima at Secunderabad. amsharma

msakella · Post by **msakella** » 25 May 2014, 17:42

Chi. Chitravina Ravikiran dear,

As I am not an educated person like you I may not be able to express all my ideas in this unfamiliar language properly. However, I shall try my best to do the needful in this respect. Please bear with me.

At the first instance I would like to thank you for your sincere appreciation of our kids’ musical excellence. This became possible only by sincerely following the logical efficiency of the system and the kids’ hard work with the supplemented support of their parents which are, ultimately, channeled and managed by our teacher’s husband, Shri J.S.Eshwaraprasad, a truly dynamic person and the famous Dancer of Nritya Sankeerthana.

In your case, fortunately, you have born with a golden-spoon. Your father is a great Vidwan himself with abundant knowledge in music. He himself trained you right from the beginning and being very intelligent you have also raised to the level he expected. More over, you are residing in the global centre of Carnatic music, Chennai which is filled with several legends, maestros and experts regularly giving umpteen concerts around you creating a very highly competitive atmosphere in music. Even in that city, daily, a number of concerts are used to be held facilitating the aspirants or music-lovers listen to them regularly. In the process of acquiring the knowledge of music listening to music occupies the major part and as a boon to the aspirants this is naturally fulfilled by this concert-oriented environment. Even in such a high level musical environment, if any person fails to become a musician the destiny must probably be against that person.

And in my case it has only deadly opposites of your case to relish much leisurely. My father knows very little of Vocal or Violin or Veena or Venu or Harmonium or Khanjira or Mridangam but proficient in Astrology and Ayurvedic-medicine. I have just imitated him in singing Vocal and Mridangam at the age of 3rd year. Later, I was compelled to discontinue due to the study of general education. Having successfully failed in all those examinations of general education came back and started playing Violin from my 17th year. Later, learnt Violin for 10 months from a teacher in two installments and another 2 months at Vizianagaram Music College to learn 7 compositions to fulfill the Diploma syllabus. In total I have learnt Violin only for 12 months. As usual, they all taught me only compositions and very little of Ragam and Swarakalpana. Later, after passing Diploma examination got selected for the Lecturer’s post in the Govt. College of Music, Hyderabad and joined in service in 1961. Having been transferred many a time by the affectionate Principals I have worked in 7 institutions at different places in our State.

At all places in our State, music-environment is much less when compared with Chennai. In this discouraging atmosphere it is not that easy to shine as a musician. However, I have struggled a lot to become a professional violin-accompanist. Adding fuel to the fire, in the absence of any teacher-training or any academic supervision, by several failures in teaching, I could realize that I was not teaching properly. Many of our Violin-teachers in our State are used mostly to follow the Dwaram’s style of Violin-playing which is not preferable for accompaniment. From all this frustrating conditions, only after my retirement and, that too, only by the grace of the Almighty, I could deeply introspect myself and bring out an effective learning system in Violin also which could be fulfilled hardly within the duration of 4 or 5 years.

In the meantime, in search of finding relevant knowledge, I have also visited most of the free-videos of ‘acharyanet’ and found that your approach is nothing but the same old wine in a new bottle i.e., the same traditional system brought out in a video form and on a website utilizing the modern technology. As I sincerely feel that this method of teaching music is a criminal waste of time, energy and money in this technologically supported speedy age I had to bring out this logical system in which the learning process is fulfilled within a maximum duration of 4 or 5 years.

In a place having full-water resources people do not bother about usage of water. They not only use plenty of it but also waste it much knowingly or un-knowingly being unaware of the value of it. But, the person in a desert very well knows the value of each drop of the water and always try his level best to conserve each drop of it. Being almost in the desert of music, with the same spirit, I have made extensive research on the methods in teaching/learning music for many years and, ultimately, only by the grace of the Almighty, I could bring out this logical system of learning music in which while the teacher’s role is less than 1% the aspirant’s role is beyond 99%. It is not that easy to understand this logical based system to the jaundiced music-teachers of traditional quantitative system.

In the new logical system of learning music, right from the beginning, stabilization of the rhythmical abilities of the aspirant has the first preference as among the basic ingredients, Swara and Laya, discipline of Laya, the time-based movement, needs the primary importance than with that of Swara. Even in this crucial Laya, along with the even-chaturashra-gati, the aspirant who cannot manage with the minimum-odd-trisra-gati also will not be undertaken at all to teach music in our institution. In this system mostly the aspirant is initiated to work on his/her own and also learn things while doing things on his/her own. But, in this system, the process of learning is very strictly made time-bound and result-oriented and the teacher also takes the responsibility of inculcating the knowledge of Manodharma Sangita unlike in the traditional system. Mostly we admit kids of younger age only. More over, very importantly, in this logical system, the kids will become proficient and confident in the much needed grammar of Laya & Swara even before the 12th year of their age to move still further later if they want to.

The mother herself eats a little bit of the sweet and initiates her kid to eat it much. She doesn’t need to eat much all along with her kid.

If the aspirant feels hungry he/she must eat and the teacher, without eating himself/herself, merely initiates the aspirant eat much.

In the same manner the teacher need not sing or play all along with the aspirant while teaching him/her the lesson. But, in the traditional system the teacher himself/herself sings and makes the aspirant also sing along with the teacher and all the music-teachers, all the aspirants, all their parents and all the musicians have been in the blind belief that this is the only method in teaching music. In fact, it is absolutely wrong. In general, even without singing myself even for a minute in any class, I shall make them sing all the 9 select Varnas @ 4, 6 & 8-notes per beat with all the needed Gamakas and the Ragalapana, Swarakalpana and Kriti also on their own. Even while teaching Violin also I very rarely play Violin in the class but make the aspirant play all the above items on his/her own.

To meet his daily needs any newly employed person needs half-a-dozen pants or shirts only but not hundreds of pants or shirts. Later, if at all he wants to have more than that he can acquire many things gradually basing upon his need and financial ability. In the same manner, the aspirant in music requires to get proper acquaintance with all the needed intricacies of rhythm and Swara but not 100 Varnas, 300 Kritis etc.

Right from the 1st day of the lesson and even up to the completion of Varnas, we initiate the kids work on their own relying upon the respective notated material, audio and video-files and along with the Metronome and Transpose of Casio which will not let them go off the track while they practice regularly even in the absence of their teacher. They themselves learn each and every item in this manner and the teacher acts only as a guide making the needed corrections, if any, in their practice. While the teacher’s duty is to make the aspirant independent in all respects this is fulfilled at full scale only in this logical system of learning music.

While the traditional system could very well be followed by the aspirants in Chennai who can learn things leisurely having abundant time, energy, money, environment and also love towards the conservative methods this logical system could very well be followed by all others.

In Chennai, with the very nice encouraging concert-environment, while the aspirants rely much on listening to these concerts and workshops spending many years of their life our aspirants living in a desert mostly rely upon the electronic gadgets etc., for each and everything, work on their own with the minimum guidance of the teacher and become efficient in singing 1 hr. concerts hardly within the duration of 5 years. Among the two kinds of aspirants mentioned above who are great, either residing in Chennai or in the desert?

In the traditional system while the so called ‘Guru’ sings himself/herself and asks the aspirant also sing along with him/her, in this logical system, the teacher only initiates the aspirant in doing things on his/her own and while doing so the aspirant himself/herself learn things on his/her own very fast. amsharma

msakella · Post by **msakella** » 25 May 2014, 17:43

I have gone through the excellent video of the kid Chi. Aniruddha you have furnished and I wish him a very bright future in music.

My aim is not merely making few talented kids recognize a number of Ragas but to equip a number of kids with the needed intricacies of the two wheels, Laya and Swara of music, to proceed further on their own confidently and independently and run fast in becoming efficient performers and also reliable teachers.

In our music-institute, Swarabhangima, here at Secunderabad, we have more than 80 school-going kids learning since last 5 or 6 years among which, as on date, 2 kids can sing 2 hr., concerts, 2 kids can sing 1½ hr., concerts, 4 kids can sing 1 hr., concerts, 6 kids can sing 30 mts., concerts - all these kids sing with intricate mathematical Swarakalpana (including Prastara based Swarakalpana) and brief Ragalapana,, 5 kids can sing 20 mts., concerts with intricate Swarakalpana and all the 9 select Varnas @ 4, 6 & 8-notes per beat, 30 kids not only sing both Purvanga and Uttaranga of all the 9 select Varnas @ 4, 6 & 8-notes per beat but also demonstrate them writing them with symbolized notation and almost all these kids render most of all the 28-Special-laya exercises very efficiently.

This is our aim in initiating all our kids finish their learning the needed grammar of music on their own with minimum guidance from the teacher within 12 years of their age which facilitates them to conveniently continue their further studies, if any, later.

I shall be very thankful if you kindly name any music-institution in Chennai which is efficiently functioning on par with our above mentioned institution. amsharma

MVRamanamurthy · Post by **MVRamanamurthy** » 26 May 2014, 05:31

Only Debate/discussion (as such things have nothing in return/no point of return) ? Enough is enough. If anyone is serious, please plan to put akella’s methodology for an acid test., so that all mist, myth and mystery will be unfolded. I feel, all who are seriously concerned to stop debate/discussion and start action.

munirao2001 · Post by **munirao2001** » 26 May 2014, 11:16

We should all be clear. The discussions are not for comparative analysis of the various teachers, teaching techniques, methods and systems, students learning and show casing their talents. The great maestro gurus, teachers, performer-teachers, in both guru-sishya parampara and institutional did achieve success of students achieving efficiency, proficiency and excellence. It is also fact that many interested individuals could not pursue due to the limitations in all the sources listed above. The count of students dropping out is far more than the students achieving their goals, at a minimum level. With global reach potential and possibilities in the present times and in the near future of Karantik Music; adopting fast growing technologies as tools are being higher; uncertainty and insecurity of youth to take KM as a professional without regular income and resources required for a living; students wanting to learn KM in addition to their main academic studies; time and resources becoming scarce; specialized roles and professionalism required in related fields-event management; resource management; critical analysis reporting and reviewing; research; the need of the hour is to take holistic look at all the teaching methods, systems and excellence and standardize the teaching to meet varying degrees of knowledge and expertise required by the youth. KM is facing the high risk of rasikas restricted to senior citizens, with negligible percentage of youthful rasikas. If this situation is not addressed and corrective actions taken by all the stakeholders of this greatest of arts, KM art will be restricted to archives and practitioners will becoming endangered community. With very good growth possibilities, it will be great disservice by all the stakeholders to miss out these most opportune times.

All the popular performers, popular teachers, patrons-corporate, institutions and individuals should join and make it possible. All the others should also volunteer for contribution. Dedicated and Committed efforts will only yield.

As already posted, I am trying to win the support of Karnataka Fine Arts Council or individual member sabha to organize Seminar-Lec cum Demo-Panel discussion on Standardizing the Teaching content, methods, systems for supporting all those interested to learn KM and its successful practice. I am appealing to all the for-unites to take initiatives in all the regions of KM centers, taking the Sangita Kala Acharyas like AKella Sharma garu, Chitraveena Narasimhan/Ravi Kiran and others who have set eminent practices to be successfully followed. Let the Action begin, in right earnestness, totally avoiding recrimination, distasteful criticisms and negativity- as all these are sure to lead to disastrous results and mission is lost forever.

munirao2001

hnbhagavan · Post by **hnbhagavan** » 26 May 2014, 15:49

Dear Sri Munirao,

Let me wish u all the best to organize a workshop on teaching methods.Any form of art like painting,Music or dance will have few individuals compared to some professions like engineering,commerce etc.Judging by the number of young performers,one may conclude that diverse methods of teaching by experts as well as initiative by the students has resulted in good talent being available for concert platform in Carnatic music.
It would be good to propagate carnatic music not just for getting more performers,but also to get more listeners.

msakella · Post by **msakella** » 26 May 2014, 17:08

Dear brother-member, munirao garu, Each and every sentence of your post is absolutely true and to be followed honestly and sincerely by each and every individual in the interest of our society at large.

Particularly in helping our kids whole-heartedly each and everybody must strive hard without any kind of reservations. But, very sadly, having different kinds of reservations, even the knowledgeable persons are not coming out open to do the needful but sacrifice even the future of our kids mercileslly. Even if any person like me honestly and sincerely tries to rectify the defects nobody is ready to correct himself/herself accordingly even for the benefit of our society but, unfortunately, acts repulsively. That is the pity. amsharma

munirao2001 · Post by **munirao2001** » 26 May 2014, 17:58

Dear hnbhagvan

I did highlight different kinds of students desiring to learn, out of such classifications, rasikas are also very important. Only initiated listeners with basic knowledge for Classical Music can enjoy and offer their support.
1) The youth, being the torch bearers for any culture or art form for continued existence and its enrichment, rasikas in the younger age groups should be taught music appreciation-values and merits.
2) To achieve the set goal, popular performers and teachers should volunteer to visit schools and colleges and connect with the young students with the help of the managements. Take the help and guidance from SPIC-MACAY.
3) Parents association or individuals should sponsor teachers and also offer scholarships to the students to learn Indian Classical Music from the paneled teachers.
4) Managements should organize events for trained and talented students to perform before the invited rasikas. Managements also should give certificates of art appreciation to the students attending Indian Classical Music events, either organized by them or recognized institutions, out side the school/college. Certificates motivates and also represents the holistic development of the students.
5) Managements must introduce Namasankeertanam events by the popular Bhagavathars, at least once a month. Namasankeertanam events can inspire or motivate the students to listen to Classical Music and become a rasika, naturally. Bhagavathars including few students from the school/college where they are going to perform, will increase the participation by the students and parents.
6) Media-both visual and print have to support the talented students and also the good work by the teachers, bhagavathars, parents, patrons and the managements of the schools/colleges by good coverage and reports. The high profile and recognition also motivates the youth to take to listening to Indian Classical Music, more in numbers.
7) Rasikas doing away with the cultivated habit of freebie culture, should volunteer to offer financial support to this development. The managements of temples and mutts also should support the talented youngsters to offer 'sangita seva' during the mantra pushpam recitation in the prayer and worship daily rituals. Offer special prasadam to young children participating in this important ritual.
8) Popular film/light music music directors and play back singers to participate regularly and more in numbers the events to motivate the young rasikas to listen and appreciate Indian Classical Music.
9) The students of all music schools and colleges should be supported by giving them the opportunities to perform, preferably group performances in Public spaces and gatherings/meetings. Sponsors and Patrons to be given opportunity and to be given identity with select groups.
10) All the stakeholders of Indian Classical Music should form Self Help Groups. Corporate should recognize the SHG's and extend financial support as part of Corporate Social Responsibility.
There could be more better ideas. Let the collective action begin, with forunites.
munirao2001

VK RAMAN · Post by **VK RAMAN** » 26 May 2014, 18:38

Setting goals and a map to reach there all look good, but the smallest step is each one of us take the bull by the horn and start our own classes in temple or our houses or by skype and impart our skills and knowledge to interested parents and kids free. We have 6000+ rasikas; what will happen if even 25% of them take such a step. Something to ponder about. It is easier to write what should be done by others other than oneself. It should start with each one of us. IMHO.

munirao2001 · Post by **munirao2001** » 27 May 2014, 11:00

VKRaman
Action to take place, will has to come in to being. Will to come in to being, the ideas have to inspire. Will to become actionable, the best way to be decided. With awareness, I started my own action. I chose to share my ideas with a view to bring about total awareness and perceptions. With perceptions, inspiration and will can lead to culmination in the universal actions. This churning of thought process has not been easy, as you surmise, but was with serious time and efforts. All the interested and committed individuals and groups can pick up an idea, in total acceptance and plan their own actions with focus on the result and the noble cause.
The action has to be well directed towards all- uninterested, interested, inspired and talented individuals with extra efforts towards young children. Let the initiatives begin in right earnestness.

munirao2001

msakella · Post by **msakella** » 28 May 2014, 00:12

Dear brother-member, munirao garu, As our brother-member, VK RAMAN wrote it is very easier to write what should be done by others than doing himself/herself you also wrote ‘the action has to be well directed towards all - - - - - - - - - - - - - with extra efforts towards young children’, but, I have only one crucial question - how many of our music-teachers sing or play themselves very strictly in tune with the ‘Metronome’ and also insist upon their students to regularly practice along with “Metronome’. Till now I did never come across any such person at all.

Almost 50 years back, may be around 1960, when I first met Late M.S.Gopalakrishnan, he told me ‘never take the violin out without metronome’ and with his blessings I was able to follow it in letter and spirit. That is why I have been able to deal with many of the things confidently, ably and efficiently. All our kids very regularly practice along with Metronome.

Unless all the music-teachers realize that stabilized-rhythmical-abilities only instill confidence into the aspirants to move further, strictly practice themselves along with Metronome and also insist upon all their students to do so formulating perfect plans for this kind practice we can never standardize the system of teaching of our Carnatic music. amsharma

chitravina ravikiran · Post by **chitravina ravikiran** » 28 May 2014, 07:50

Shri Akella garu,

Thank you very much for your detailed responses on various subjects. There is absolutely no doubt that you have put so much of thought, passion and effort on this subject. The music world needs to be appreciative of this, especially given that you have done it in places where quality guidance in CM is not as readily accessible as Chennai (in your own words). I also think that some of your methods maybe useful for institutions focusing on mass-education.

That said, I definitely must clarify a few of your assumptions:

* Numerous gurus have been employing many (if not all) of the methods that you deem to be original for a long time.

* The best wisdom in Carnatic music balances between compositions and creativity - I have learnt this first hand from the likes of Semmangudi sir, Brindamma, DKP and most of all, my guru Chitravina Narasimhan sir. To elaborate, those with a reputation of creativity including Maharajapuram Vishwanatha Iyer, GNB and others have made a strong point of the importance of quality repertoire in major ragas. (Famous story of MVI and Madurai Mani Iyer illustrates this.) I have further heard how gurus used to approach teaching manodharma even to advanced students and this has tended to get desired results for centuries. Thus, you may perhaps like re-examine your critique of students learning repertoire.

* Tala exercises are - in reality - the easiest to teach or master in a few months. I can say this both as a student and as a pedagogue myself. This is only one part of musicianship, which is more about an above average competence in many areas including raga-gnyana, repertoire (ideal - a few hundred to a thousand at least), shruti, tonal and gamaka sense, laya, tala, bhava, original or at least conventional creativity in alapana, tanam, neraval, kalpana swaras, awareness of tradition, conventions, 10% of basic grammar (like names of notes, talas, composers etc) and most of all, expression - an ability to provide a memorable listening experience etc. Of course, there are degrees and degrees of musicianship and I have only listed some essentials. Any teaching method must endeavour to give all these to a student.

* The simple fact is that whichever area one focuses on first, covering all of these will surely take a few years since students need time to not only grasp but also digest and practice what's being taught. It's as simple as planting various trees and getting them to grow in normal, proper ways rather than forcing fruits out of them prematurely. Thus, there have been numerous great methods in our system. I have to stress that numerous gurus have been doing what they consider best with honesty. It is absolutely fine for you to talk about your intent or honesty but inappropriate to question honesty of others.

* Bottom-line: There have been numerous great methods in our system. I personally have known numerous gurus have been doing what they consider best with honesty. They produce amazing results even in far-off cities in USA or Canada. It is absolutely fine for any person to talk about his/her intent or honesty but absolutely inappropriate to question the intent or honesty of others. As Tyagaraja says, "Endaro Mahanubhavulu".[/list]

A point about Metronome: It has been said that Brahma Laya is about being able to hold kalapramana in 6 speeds and 5 gatis without the aid of any other agency, without missing tala - for both vocalists and instrumentalists. This requires hours of focus, coordination and direction from good gurus over years and still there could be some human touches (translation: non-machine like errors). But students with time must only pursue this method as this is what will develop real musicianship.

That said, I have used metronome in my 8-kalai RTP CD that Charsur brought out many years ago as also in a few other fusion albums. Along with Vanitha and Suresh, I was also involved in the first Visual Metronome and Tala Software - "Taal Acharya" along with Vanitha and Suresh, which has been downloaded by numerous students, gurus and musicians from http://www.acharyanet.com.

munirao2001 · Post by **munirao2001** » 28 May 2014, 11:10

Chitraveena Ravikiran,
It is heartening that you invested your valuable time to post this reply. Your detailed reply and information shared focuses on serious, committed and dedicated student with intent to acquire knowledge, excel and also become a successful performer.
In the contemporary times, to take the Karnatik Music to critical mass, teaching intent, content and delivery has to be seriously reviewed to meet the aspirations of all the stake holders-Rasika to appreciate; Rasika to enjoy with better knowledge of all the creative tools; Student with aspiration to become performer; Student with aspiration to become a teacher; Student with aspiration to become researcher; Student with aspiration to become a musicologist; Student with aspiration to become a reporter, a reviewer, impresario, editor/sub-editor; Student with aspiration to become a presenter, a programme executive; All connected with KM - Student with aspiration to be a successful event manager; Student with aspiration to be a successful resources manager. Time is at a premium. Only few dare to be different and take to learn and master. In earlier times, the joke of a Guru was that 'do not worry, if you are not able learn well, you can become at least a musicologist. If you can not even become a musicologist, surely you will become a successful critic'. May be this 'drop out' syndrome is also a factor which has shaped the present times.
As you have already realized and striving hard to successfully establish Karnatic Music in the Global Music, with well deserved niche, status, acceptance and appreciation, Please work for a planned efforts to bring all the Great Maestros/Maestros-both performer-teachers and teachers and musicologists for a collective efforts in imparting specialized teaching intent, content and delivery, through Lec-Demonstrations; Seminars; Work shops; universal syllabus; publication. As Father and Guru Shri Chitraveena Narasimhan Sir advised me, it would be best served if Shri Pappu Venugopala Rao and Music Academy takes this eminent and noble cause. I am trying to motivate either newly formed federation of ten prominent sabhas in Bengalur-Karantaka Fine Arts Council or any individual trustee organizations of KFAC like Nadasurahi/Sri Rama Lalita Kala Mandira/Gayana Samaja/Ananya in this cuase, but yet to make any headway.
You with all the popular Maestros like Sashi Kiran, Sanjay Subramanian, T.M.Krishna, Vijay Siva, Abhishek Raghuram, Neyveli Santhana Gopalan, Unni Krishnan, Malladi Brothers, Sowmya, Ranjani & Gayathri, GJR Krishnan, Narmada Gopalakrishnan, Mysore Nagaraj & Manjunath, Ganesh & Kumaresh, Patri Satishkumar, H.S.Sudheendra to name a few individually or collectively propose, it would be taken with right earnest and the cause well served.

munirao2001