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

[MVRamanamurthy]

Ref: 2 by munirao2001 » 09 Jun 2014 and 4 by hnbhagavan 08 Jun 2014

Dear Munirao, HNBhagaban and Akella Sirs,
As already said there can never be any easy method. All have to research-out how music had born and evolved over centuries. Then if that path is visible, perhaps, what Akella says is one path he researched it out. None can discard on the face value of it, as he also stands among many other towering musical personalities. So kindly understand his method and if good, kindly continue, if not say so to discard. That perhaps what Akella is aiming at and is standing at cross roads by crossing his fingers for your scrutiny. .
All the musical stalwarts that of bye gone era or living, none disputes on their intellect and performance. But in my view they are skilled artists, We need innovative researches too. That what I had ventilated in an invited paper published in the International Journal of Music and Dance. Visit: http://www.academicjournals.org/article ... murthy.pdf

[hnbhagavan]

Dear Ramana murthy,

In case you call say Sri Lalgudi sir only as a skilled violinist,It would be nothing short of being unfair.He was a complete musician with unparalleled contribution in creation of new composition and excellent vocal and violin technique..As you have pointed out as in case of Sri Balamurali,there were many creative artists like Sri MDRamanathan who also taught at Kalakshetra.
There were many creative artists Lalgudi,MSG,MDR,KVN,Nedunuri Krishna Murthy etc.I cannot imagine branding these people as skilled performers.
I can go ON and ON about the creative aspects of earlier legends.

[munirao2001]

MVRamanamurthy Sir

No doubt, research work in Karnatik Music is like any other research works in India, abysmally poor with only islands of excellence. For e.g. in my research, I am yet to find well researched and historical studies on the influence of Vaggeyakaras immense works on the contemporary society, including the intellectuals of those times. What we have is musicologist myth making modeled on the English culture and literature. To research, there is a veritable mine of history and information.
Now, we need with great urgency to review and with inclusive approach create the edifice for excellence in Karnatik Music-History of knowledge, oral and written; Tradition and practice; Education, research and Teaching, both conventional and innovative systems and methodologies; Institutions of excellence for art practice and performances; Patronage for exemplary and meritorious teachers, practitioners-performers, scholars, musicologists, critics, publishers, curators, archives and event managers through best management practices. I have chosen the education aspect as the top most priority. With education, urge and inspiration, all other critical aspects will be addressed by all those committed and dedicated.
Efforts in Humility, Judgment sans pride and prejudice, favor, not well founded criticism and dismissive minds only helpful and supportive. Commitment of resources by all the dedicated is a must. Real time actions to eliminate procrastination, put an end to sympathy and to completely, empathize with the Noble Cause.
Let the individual and collective actions in Local, Regional, State and National begin, in right earnest. I am pursuing my effort with KFAC at Bengaluru on Education & Teaching aspect.

munirao2001

[msakella]

Dear brother-member, MVRamanamurthy,

What you wrote in your post is absolutely true. But, better not to forget that we all have a great facility of our ego which very efficiently makes us jaundice-eyed and doesn’t allow us at all to easily agree with any difference of opinion. That is why even if I write that I can prove the illogicality or the irrationality of their system nobody is coming out even to discuss.

However, in one aspect I slightly differ with you. The nature always is filled with both the long-cuts and short-cuts too just like the even and odd figures in the arithmetics. If all the usual long-cuts are tried and failed and if we don’t find any other way out then only we shall search for that another way of it some how to get out of it. Thus, that becomes the short-cut.

The same thing happened in my case too. When I first found my inefficiency in teaching I had to very keenly analyse the situation of all the music-teachers around who are very regularly singing or playing themselves and asking the aspirants also to sing or play along with them thinking that is the only way of teaching music. Then one question came out ‘Can I not send my son to Delhi without following him along?’ and the relevant answer also came out ‘Yes! I can very well send my son to Delhi on his own by efficiently making him aware of overcoming the different hurdles of such journey’. This only paved the way to my thumping success.

By all this, ultimately, unbelievably, only by the grace of the Almighty and for the first time in the history in my extensive experiments, I could make the aspirant sing or play on his/her own basing upon some reliable aids even without singing or playing myself mostly. But, the egoistic persons are unable even to look into this truth with their jaundiced-eyes. Here at Secunderabad some of the people are able to see this and reap the benefits of this new system.

All the more, having delved very deep into this research in learning our music, nobody believes me if I write that, in the absence of a flawless logical system, even the teacher himself/herself knowingly or un-knowingly hinders the progress of the poor aspirant in one way or the other. Also nobody appreciates me if I write the fact that the illogical and irrational ways of many music-teachers have many suicidal effects upon the poor aspirants who are the ultimate sufferers. But, unfortunately, each and every music-teacher thinks himself/herself the best teacher even without properly analysing the negative effects of the end-results like I did in my case in the following manner.

In my service at one place, when I had 16 students in my class and when only two of them have passed the examination with average marks I thought that, even though I have taught all of them in the same manner, these two only could pass the examination with their brilliancy and hard-work. But, later, only in my deep introspection made after my retirement, I realised that I couldn’t successfully spoil even these two kids like all others. Thus, in the absence of a flawless logical system, we think that we are making good but doing bad. God alone must save our kids and our music.

In this novel system of learning music many kids of the age between 8 and 12 years, after the probationary period of 6 months, within not less than one year and more than 3 years and even before the completion of 9 select Varnas and not more than 10 Krits/Keerthanas can certainly become able to sing brief-alapana for a couple of ragas along with intricate Swarakaplana. I can prove this and am ready to face any acid-test in this respect. But on one condition that - if I do it successfully all the musicians connected to the Music Academy, Chennai along with the Music Academy itself must very strictly follow and propagate this system and if I fail to do so I shall pay Rs. One lakh to the Music Academy (on behalf of the musicians connected with the Music Academy the Secretary, Shri Pappu Venugapalarao, Dr.N.Ramanathan and Shri Chitravina Narasimhan have to sign the agreement and send it to me and I shall send the amount to the bank account of Shri Pappu Venugopalarao). If this is agreeable the terms and conditions of the selection of aspirants etc., will be finalised and after the selection of the aspirants I shall send the amount accordingly. amsharma

[hnbhagavan]

Dear Sri MSAKELLA,

Refer your last post.I am happy that you are willing for testing your method.Music Academy and those responsible for propagation of music in Chennai should seriously consider your offer.

[MVRamanamurthy]

Akella Sir,

Ref: “that becomes the short-cut” This must be the correct method, among others. What is generally followed (Long cut) could be incorrect one. All concerned genuinely should feel touched for your open offer of Rs. One lakh, in case of anybody finds your system is a faulty one. You did your maximum. It’s for others genuinely concerned to come forward to take the advantage.

[msakella]

Dear all,

At one place, a music-teacher attended my workshop on Swarakalpana and Ragalapana. In the process of strengthening the rhythmical abilities of the aspirants before entering into Swarakalpana I am always used to ask them to, at the first instance, render each and every Alankara of the seven Talas both in Chaturashra and Trisra-gatis consecutively. In the same manner when I asked one of them to do so he replied that he was not taught Trisra-gati by his teacher who, in turn, told him that he cannot manage with Trisra-gati being very poor in rhythm. Feeling very bad of it, I tried to push him into Trisra-gati by giving him some exercises. Immediately he could catch and sang all the Alankaras successfully, then and there, both in Chaturashra and Trisra-gatis consecutively. His Guru is a ‘Sangita Kalanidhi’ the great.

Since a long time, in the absence of any logical, rational and standardized methods in teaching/learning music and any teacher-training-course in music this kind of anguish is always used to happen to the aspirants. That is why, even though the music-teachers doesn’t like me, as a professional-teacher, I am always used to tell that the poor aspirants are the sole sufferers for all the inefficiencies, dishonesties and insincerities of the music-teachers. God alone should save them.

To avoid such things in future and in standardizing the methods in learning music very strictly basing on the logical and rational views this new method is formulated basing upon the amazing end-results. Only to propagate this method everywhere for the benefit of the aspirants and their parents I have proposed a deal in my previous post on 11-06-2014 becoming ready even to incur an individual loss of Rs.One lakh. But, as usual, I did not yet get any positive response.

But, taking all the previous incidents into consideration, later I thought that it is futile to expect any positive action in this respect from the persons concerned who are used to mercilessly make plans to waste 15 long years of their precious life of the aspirants without sensibly reducing it by properly utilizing the modern gadgets for the benefit of the aspirants I have, ultimately, decided to cancel all my proposals forthwith and to disperse. amsharma

[sastrydevarakonda]

Namaste to all of this Classical Music world those who have been associated with this, I submit as a sincere devotee of classical music, Playing, Practising, Learning VEENA with a serious thinking to the music, and trying hard, so that how best I can understand and digest music into my system.

My sincere namaskarams to the great guru Sri Akella Mallikharjuna Sharma Garu, for bringing out such an innovative and easy methods to practice/learn carnatic music. The Pattern designed by him is really excellant and definitely a great help/boon to those who are really intended to get induced to good music and who can sicerely practise music.

I would like to put forward some of my experiences, which may be of some help to those who have been in music, for quite long time, but not able to land in any point due to the improper guidance, because of this, they would have spent good length of their life time in pursuit of music for only the reason, to understand and enjoy carntatic music to keep them in good health.

[sastrydevarakonda]

Namaste to all the members of Rasikas.Org,
Two days age I also joined this music forum to share my thoughts and experiences about my being in Carnatic music.

As I explained in my earlier write up I intend to put forward my experiences as a VEENA Player/Learner, for the benefit of my good Veena friends, some of them whom I know, and others I may not know, but Iam sure more or less all of us are sailing in the same boat.

Iam confidant about most of us either with Diploma in Veena or MA in Veena, having spent quite a good length of time -about a decade/ or some more than one and half decade in the music schools, but not landed safely, and also not sure about what we learnt/ what we should have learnt.

When I talk about myself with Diploma in Veena, and having spent more than a decade time in the learning process, but could not reach any point of satisfaction or clarity about what I learnt, but my mind kept hunting for the clarity.

For the past one year, When started interacting the music sessions, organised under the guidance of Sri Akella Mallikharjuna Sarma garu, I witnessed the children doing wonders with the swara prastara/swara kalpana/raga alapana.

Then I tried to analyse myself, what I learnt, what I should have learnt, Where I had gone wrong, and what are the important components of music, where one should focus so that one can go along with the subject.

Those music sessions had great impact on my mind and made me to think that, how can I correct and put myself on proper track of music. Then I approached Sri Sarma garu and expressed about myself - to reorient and streamline myself -in the proper track of music, for which he explained me, the things where I had gone wrong and where I should have focused to correct myself.
Then I realized and started following his exciting AMS easy methods, starting with the fundamental practice of making myself strong about the LAYA part with the 3-5-7 in Chaturasra and Thisra exercise.

I strongly feel either one should know or get guided to go in a correct path to reach the true music much before the interest dies, because Music brings self displine and no other subject has this capacity.

If I have to play one Krithi with perfection, embedded with good grammer points like rendering good Raga Bhava, followed by the simple and beautiful mathematical swara compilations, definitely I should have a clear imagination/picture, that how I should render/play.

The divine indian classical instrument Veena, to look at it- as if the notes are seen, but it is very tough to understand that they are not there- it is the learner has find where they are. So the mind has to have the places and range of the notes, which are to be produced in the form of sound through the pluck and pull of the string. So the calculation for that lies in the judgment of the mind with its indepth imagination for the note.

Keeping aside the Sa and Pa, the remaining ten notes on the bride of VEENA are very important to be thoroughly understood with a clear cut feeling for the place and range and depth of the note.

Before I express more about my understanding about the instrument, first I would like share my feelings more about the music part embedded with laya and sincere respects for the AMS easy methods.

Thaking rasika.org, I will continue expressing my experiences in my further write ups. Sastry Devarakonda

[msakella]

Dear brother-member, sastrydevarakonda,

As per my 35 years long teaching experience, having worked in an institutionalized set up and with subsequent failures I have finally landed at a place having 3 levels in learning music, 1.the efficiency of the system 2.the vigilant guide or teacher and 3.the aspirant. Only basing upon this and on many of my experiments I could formulate a fool-proof and system-based syllabus consisting of limited preliminary exercises, 9 select Varnas to be sung or played @ 4-6-8 notes per Kriya, one Swarajati in Bhairavi and 5 or 6 Kritis/Keertanas along with Ragalapana and Swarakalpana. It takes the maximum duration of 2 years to finish this syllabus along with intricate mathematical Swarakalpana and brief Ragalapana.

Any system will be formulated with very high logicality and rationality in the very beginning by the efficients. But, later on gradually the inefficients conveniently dilute it to facilitate their easy intrusion into it. Thus, now, the traditional method in teaching/learning music is mostly filled with illogicality and irrationality and our music-teachers are unable to diagnose it with their jaundiced eyes. Even if I have, many a time, openly pointed out their illogicality or irrationality nobody is coming out to discuss lest his/her own beans will be spilled out effecting his/her own image.

Even though I was also one among them for much of my life, only by the grace of the Almighty, I could realize and make this process of learning music very strictly time-bound and result-oriented for the first time in the history. As you have very recently approached me you are also enjoying the fruits of it like all others studying in our institute, Swarabhangima, here at Secunderabad.

Nearly 30 years back, even in 1977, T.Vishwanathan, a Tamilian, in ‘The analysis of Ragalapana in South Indian Music’ in Asian Music IX-I Journal of the Society for Asian Music. p.15”, wrote “Nevertheless, modern social and economic conditions make it unwise for the student of music to commit so many years of his youth, when he cannot be certain of success in a music career. He often tries to combine musical training with a conventional education and is denied the advantage of prolonged, uninterrupted absorption. The teacher must therefore devise a system of effective musical training which can be completed in a shorter time”. But, no music-teacher pays heed to his valuable advice. As you all are aware, right from many centuries, our Tamilian brothers are admirably the frontbenchers in many aspects relating to Music or Dance while very few of our Andhras are able to sit along with them. But, when even Talmilians themselves are not ready to follow his advice who will care for my advice being an Andhra. amsharma

[cacm]

Dear brother-member, sastrydevarakonda,

Nearly 30 years back, even in 1977, T.Vishwanathan, a Tamilian, in ‘The analysis of Ragalapana in South Indian Music’ in Asian Music IX-I Journal of the Society for Asian Music. p.15”, wrote “Nevertheless, modern social and economic conditions make it unwise for the student of music to commit so many years of his youth, when he cannot be certain of success in a music career. He often tries to combine musical training with a conventional education and is denied the advantage of prolonged, uninterrupted absorption. The teacher must therefore devise a system of effective musical training which can be completed in a shorter time”. But, no music-teacher pays heed to his valuable advice. As you all are aware, right from many centuries, our Tamilian brothers are admirably the frontbenchers in many aspects relating to Music or Dance while very few of our Andhras are able to sit along with them. But, when even Talmilians themselves are not ready to follow his advice who will care for my advice being an Andhra. amsharma

Dear Sharmaji,
In addition to the other disagreements in this thread I wish to point out that there is NO NEED to say that persons from Tamilnadu agree that they are Tamilians etc as it is WELL KNOWN for example the Madras & Kerala Barahmins at least originated & migrated south when Vijayanagar Empire collapsed. I am a "Tamilian" but in my house TELUGU Sampradhayam was closely followed & my mother knew Telugu very well etc. In short as you well know Potti Sriramulu gave his life for his belief Madras should be part of Andhra etc. T.V. was vey similar as I knew him well. Kust a thought!....VKV

[msakella]

Dear brother-member, cacm,

Even though we all are Indians and mostly have the same kind of tradition in many aspects we are also ready to create enough differences only to fight with each other but not to be united or to be logical or rational.

At this juncture, being a true teacher, even after my retirement at this old age of 76 years, always I am more bothered only about our kids in honestly and sincerely feeding them the true details of our culture in a quick pace properly utilizing all their instinctive abilities for their development.
Even than the useless and insensible differences of Tamilians or Andhras or any other region in this respect I feel very sad in respect of our people in not taking heed of such logical and rational advice of T.Vishwanathan even for the benefit of our kids.

However, I feel very happy that you somehow have come out to point out even this petty difference leaving alone all other sensible and useful disagreements as you wrote. amsharma

[sastrydevarakonda]

Namaste to all Members of Rasikas.org
This write up in continuation of my earlier ones, I putforward some of my feelings what I developed and what I felt when I had a close observation with the AMS methods- the Manasa Putrika of the Great Guru sri Akella Mallikharjuna Sharma garu.

when I tried to to associate myself with the exciting AMS easy methods of music, to understand its phenomena and what exactly going on in this wonderful discovery of AMS Methods.

What I understood,irrespective of the student aspiring to be vocalist/violinist/vainik/flutist/or any other instrumentalist, the basic phenomena is that, In the first step make the LAYA part Strong so that the stundent's growth will be strong.

To answer this aspect, the methods says: - Make strong about 3 - 5 - 7 in Chaturasra gati and 4 - 5 - 7 in Thisra gati.

Two main points I seriously felt, the first 3-Chaturasra gati - is really wonderful , as one keeps interacting, and analysing deeply with his own repeated search for getting the insight of this, I think more and more information is hidden in this - and that has to be explored for the welfare of the selfbeing.

What I understood is that, this is paving way for the beautiful Swara Kalpana, either for - Half Avrutta/ One Avrutta/ or more as - with more and more practice, a good flow of Swara Kalpana can be desinged with very less effort.

To my knowledge and understanding, the remaining 5 and 7 in Chaturasra gati helps to grow about LAYA part and it helps for a wonderful Muktai swaras, again depending on our deep practice and try to get deep into it.

For an ambitious learner, like me - to get the pulse of the music,- having spent good length of time in music, without
landing anywhere- this method is of a great help, because, rendering kalpana swaras is not a small task in music and if Kalpana swara avruttas are easily coming in my way, that is really wonderful and making me excited.

Since Swara Kalpana is one of the major element of Manodharma Sageetam - Iam sure with more rigorous practice of this exercise helps- the learner to grow strong in this aspect.
Thanks to AMS methods and thanks to Rasikas.org - Sastry

[msakella]

Dear brother-member, sastrydevarakonda, While learning such crucial rhythmical exercises from the so called music-teacher the real problem is not with the exercise but with the aptitude of the teacher who is unable to look into the facts.

Either the present performers or the present music-teachers very well are aware that they must resort to teaching to earn something even in their lean time when they are deprived of music-concerts. But, unfortunately, they are not aware that they are resorting to teaching with an attitude but not with an aptitude which makes all the difference in respect of the poor learning kids.

To tell the fact, even though I have also been one among them for much of my life, I was compelled to find a way to the poor learning kids, having regular rapport with all of them working in an educational set-up of a Govt. educational institution. While working in such institution I have very regularly been getting my salaries without any obstruction but when I myself found that I have merely been eating the public funds in the form of my regular salaries but, in turn, I have not at all been able to deliver my duties or responsibilities of a teacher efficiently, honestly and sincerely. Is it right to do so on my part? No! Not at all. This gradually led to my deep introspection after my retirement which, ultimately, resulted in bringing out these very successful modern methods in learning our music unbelievably for the first time in the history.

This only paved way to formulate all the logical and crucial rhythmical exercises which are very successfully instilling abundant confidence into the poor aspirant to work on his/her own and run very fast in learning the lessons with the most minimum guidance of the so called teacher for the very first time in the history. Here, in our institution, Swarabhangima, at Secuinderabad, the local people are amazed to find this successful end-results of the small kids within a very short-time and are coming forward not only to immediately admit their kids into our institution but also even to shift their residences from far off places to the nearby residences to get their kids admitted into our institution. Is it not the power of this modern and successful system of teaching leading to the amazing end-results of the small kids? But, others being in far off places are unable even to have dreamt such things in their life time. Fortunately, having come into this fold, you are able to enjoy the fruits of it successfully.

By the grace of the Almighty and by all this, even though many of our great legends or maestros or experts are absolutely unable to understand about what I am doing or speaking, I am fully satisfied with what I have been able to do for the benefit of our kids unlike any other music-teacher on the globe. In which way it took a very long time to believe that the earth is round it may take much longer time to believe in this system and to follow it. amsharma

[sastrydevarakonda]

[update][/update]Namaste to members of Rasikas.org,
I would like to share my music experiences, specifically to benefit my music colleagues those who have been in the learning process for the past decades or more and searching for a platform to land safely, with the sole motive to imbibe some music.
What I understand is that, if we all make the LAYA exercises namely- from the defined AMS easy methods, the 3-4-5; and 4-5-7 in chaturasra and thisra gati, definetely we all will be able to climb few steps towards making our music concepts strong.
what we have been finding the difficulty even in creating - Half Avruttam of Swarakalpana - that too simple -4 kriyas ( 16 swaras), we were finding so tough to do so much maths to arrive at the figure - 16 swaras/4kriyas for half avrutta.

I feel this can be simplified with the 3-5-7 version in Chaturasra gati, that too the first version of '3' in chaturasra gati, we start thinking about this, without bothering for the mathematics - it can easily provide half avrutta, one full avrutta and one and half avrutta.
This version strarts with ' Ta Ki Ta ;Ta Ki Ta ;Ta Ki Ta; Ta Ki Ta ( if I consider this four Ta Ki Ta's as one phrase- that is answering for three kriyas +one Ki Ta Ta Ka = will give one Half Avrutta.
If similar two phrases are rendered + two Ki Ta Ta Ka will answer for one full Avrutta.
Otherwise, as such this version- will complete on its own with only Ta Ki Ta (3 word phrase) for one and half avrutta.
We can also continue the same for Three Avuttas.

Since this Phrase formation can easily take 2,3,4,6- swara phrases - by thinking different combinations - holding on to the main version '3' in chaturasra gati - we can create a very good flows. This we all can observe the framing in any Aditala Varnas- starting from Pallavi to till the completion of Charanas.

What I would like convey, by just practicing the '3' in Chaturasra gati - we can streamline our swara kalpana part, there by it paves way for making our krihis strong, because we trying to build our inherent Laya part strong. Without much thinking, if we are able to create - the Swarakalapana - then we will be able preserve what we learnt so far, otherwise we can not hold any music learnt in the past.
Once we are sure about this part and able to render fluently some Swara flows, then only we will be able to present the same thing on the VEENA otherwise, we will not be able to do justice with the instrument.
Thanks to AMS easy methods for this wonderful creation - Sastry

[VK RAMAN]

This thread has taken a different turn -

[Pratyaksham Bala]

Mods,

Most of the posts in this thread deserve to be shifted to 'AMS Easy Methods 2007 CD - Teaching and Learning Methods' under 'Music School', especially Posts #108 to #115.

[sastrydevarakonda]

Namaste to Members of of rasikas.org,
Namaste Pratyaksham Bala garu,
Since I started posting in this, I have been sincerely expressing , about many vidyarthis's who learnt for about 10-15 years, but could not stabilize themselves for whatever the reason may be, so my sincere effort aiming at those people, through this channel, to build their music confidence.
Sincerely I do not have objection for shifting of my posts to 'AMS easy methods 2007'- Sastry

[msakella]

Having worked as a teacher for most of my life and having since been observing all the short-comings of the poor and ignorant aspirants always my main aim has become to look after the welfare of the kids and nothing else. Having found a lot of harmful things in teaching by which, ultimately, the poor kids have always been facing intolerable sufferings mainly due to the egoism and conservative temperaments on one hand and the illogicality and irrationality in teachings and the irresponsible atrocities of the teaching community all over the globe on the other hand, as a professional teacher, I am unable to bear with and accordingly expose in all my posts. No teacher comes out and rectifies himself/herself even for the sake of our own kids. To whom shall I complain to properly save our kids? Many of our members may not like this. But, at this age, you may not believe me if I write that I get sleep only for two or three hours for many nights by all this. I cannot forget all these things in my life time and I cannot and do not change.

If our fellow-members feel so I have no objection if my posts are moved to AMS-Easymethods-2007 of the Music School by the mods. amsharma-1 am.