Indian classical music is one of the oldest as well as complicated music forms in the world which is considered to be originated during the Vedic period. Indian classical music is regarded as pure and was primarily used as a mode to realise God in olden times and hence was performed only in the temples. Around 17th century, music became more open, flexible and accessible to common people. Indian classical music is deeply rooted in Indian culture and tradition and each place has great impact on music.
There are two branches to the traditional Indian classical music; they are Carnatic and Hindustani music. The Carnatic music is complex and is mostly practiced in the Southern part of India with particular form of Ragas and Talas. Carnatic music basically contains 7 Ragas and 72 Talas and is used in a rhythmic pattern. The three saints in Carnatic music are Thyagaraja, Muthuswami Dikshitar and Shyama Shashtri who have composed thousands of Krithis which are still favoured by musicians. Here more emphasis is given to vocal singer, hence the training in this form of music is started from a very early age and a well qualified master is also needed for teaching Carnatic music. These compositions are also taught in all Carnatic singing classes in Pune to train the students who want to excel in this style of music.
Hindustani music unlike Caranatic music is greatly influenced by Persian and Islamic cultures and is more prominent in North India. The heritage of Hindustani music goes back to Sufi age. The melodic pattern is brought in to the music with intelligent use of Ragas known as Aaroha and Avaroha. The main styles of vocal Hindustani classical music are Dhrupad, Khayal and Tarana. At Gandharva Mahavidyalaya, students are given training in these forms of music.
Gandharva Mahavidyalaya is one of the reputed singing classes in Pune. Gandharva Mahavidyalaya established by Pt. V. Patwardhan, the most senior disciple of Pt Vishnu Digambar Patwardhan who wished to spread music to the common people, aims at educating and promoting music like Hindustani and instrument music like Harmonium and Tabla to the common people.
Here special care is given to bring out the best in a very student so that they can perform Hindustani classical music at international levels. Here the students also get the opportunity to perform and participate in well acclaimed concerts which is not available in any other singing classes in Pune. With years of experience and dedication GMV is preferred as one of best singing classes in Pune. GMV also introduces Sugam Sangeet into the various music courses which cover Bhavgeet, Natyageet and more. There is music courses organised for kids who are more than 5 years of age and the course is named as Balgeet.
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Course Objectives
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Course Contents
From this course onwards, the student of vocal music should be able to sing solely with the tanpura and without the accompaniment of the harmonium. This course also introduces the student to the vilambit khyaal, as well as to the dhrupad style of music.
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Swar - By the time the student reaches this level, he/she should have achieved the competence to recognise both shuddha as well as komal and teevra swars confidently.
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Raag - The student will be taught a vilambit khyaal and a drut khyaal in Raags Kalyan, Bageshri, Bhairav and Bihag, and he/she will be expected to present the raag for around twelve minutes, using one’s own creativity to elaborate on the aalap, taan, and boltaan. Apart from this, the student will learn a madhya-laya bandish in Raags Hameer, Asavari, Shankara, Malkauns, Maand, and Deskar. The student should also be competent at recognising a raag from a signature group of swars. Also, the student will be introduced to two dhrupads, in one-to-one and double laya. In the exam, he/she might be asked to present a bandish in Drut Ektaal, as well as a tarana, bhajan, bhakti-geet, or natya-geet in any of the raags in the syllabus.
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Taal - Apart from all the taals learnt previously, the student will be taught Ektaal and Chautaal in this course, and will be asked to show the taal in single as well as double tempo through claps with his/her hands.
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Theory - In the written examination for this course, the student will be expected to compare the raags learnt from all aspects. He/she will also be taught to write the bols of the taals learnt, both in single tempo as well as dugun (double tempo). Also, the student should be able to write the notation of the drut bandish as well as the dhrupad in double tempo. This course also provides detailed information about dhrupad, dhamaar, vilambit khyaal, chhota khyaal, bhajan, etc, as well as basic information about folk music, light music and film music. The student is also expected to know about shadja-madhyam bhaav and shadja-pancham bhaav. Apart from this, he/she is given a brief overview of North Indian (Hindustani) classical music and South Indian (Carnatic) classical music. As part of definitions, the learner will be introduced to the finer points of naad, as well as ghaseet, jamjama, and murki. He/she will also be required to know the brief biography of Pt. V.N. Bhatkhande and Pt. Vishnu Digambar Paluskar, as well as the nuances of their notation methods.