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.
-
Course Objectives
-
Course Contents
This course expects the student to have attained a basic level of competence in the overall understanding of music. This is best tested through the way the pupil responds to the tanpura. Thus, he/she will be required to tune the tanpura to the appropriate swars.
-
Swar - The student should be able to sing and recognise shuddha and komal-teevra swars, and also use various kinds of alankaars in his/her performance.
-
Raag - The student will be taught one vilambit and one drut khyaal in Raags Chhayanat, Puriya Dhanashri, Bhimpalas, Jaijaiwanti, and Asavari. He/she should be able to perform any two of these raags for fifteen minutes, with complete aalap, taan, and boltaan. Apart from this, he/she will also be trained in performing a madhya-laya bandish for ten minutes in Raags Kamod, Kalingda, Kedar, Hindol, and Bahar. The student will also have to get trained in one dhrupad and one dhamaar composition (with double and quadruple tempos), as well as two taranas, and one Drut Ektaal bandish in this course. Also, as part of semi-classical music, the student will be asked to perform either natya-sangeet, bhajan or bhaav-geet (light music).
-
Taal - The student will be taught the Taals Tevra and Surfakta (Sul taal) this year, and will also be assessed in all the taals learnt in the previous courses. The student will be expected to say the taals with bols while counting the maatras with the fingers and hands in single, double, triple and quadruple laya.
-
Theory - The student should be adept at reading and writing both the scripts of music by this level. He/she will be asked to write the notation of the chhota and bada khyaals in the raags learnt for the written examination. Here, the student should also be able to write the double, three times and four times tempos in the Bhatkhande as well as Paluskar style of notation. With respect to the written examination, the student should be aware of the complete profile of all the raags and taals in the syllabus and be able to compare them with each other. He/she should also have in-depth knowledge about dhrupad and dhamaar. Definitions of terminology such as purvanga-uttaraanga, purvaraag-uttarraag, varna, khatka, murki, gamak, aandolan and gitakadi, as also minutiae about alpatva-bahutva, avirbhaav-tirobhaav, anulom-vilom, etc are also part of the syllabus. Other technical details that are included in the curriculum are the different raag-jaati and kinds of taan, sound and its properties, the shruti system, its classification in the ancient and modern systems, as also in the North Indian and South Indian styles of music, etc. The learner should also know about the thaat system and its relative pros and cons. He/she will also be asked to write a brief biography of Pt. Balkrishnabua Ichalkaranjikar and Ustad Abdul Karim Khan in the written examination.