Design & framework of music training

MUSIC IS a traditional art; not merely traditional, also transcendental. Up to this day, it is an esoteric art. Music is a standing testimony to the time honoured, ancient Indian system of education — the Gurukula Form. This system is responsible for music being handed down from one generation to the next. We are fortunate enough that we are able to acquire a very good repertoire of compositions of our great masters, portraying distinctive style. Our great maestros have passed on to us Manodharma Sangita, a distinctive feature of our carnatic music, which dominated the concert platform about 50 years ago.

The responsibility of preserving this rich heritage has fallen on us. Now carnatic music has become a very popular art. The number of concerts held has greatly increased. The number of students who aspire to learn music has also increased. Concert goers are also large in number. More and more sabhas have emerged. Scientific approach has also entered the music field. But there is a general feeling now that many of the concerts held these days do not make lasting impression on the minds of the people. Manodharma Sangita, which dominated the major portion of a concert, is increasingly losing its significance. There is a tendency among the rasikas to listen to light classical music, light music, devotional music and folk music more than classical music.

It is high time that attempts are made to revive interest among the young generation in classical carnatic music. No doubt many sabhas are trying to attain this by arranging concerts and lectures by eminent and traditional musicians, emphasising the various aspects of our traditional carnatic music, and also to create awareness among the people to understand the value of classical music. But on the whole, notwithstanding this there is a decline in the standard of performance except in few cases.

The reasons for this are many. One of the reasons is the system of music education adopted now. The Gurukula system of imparting knowledge followed by our ancestors had many advantages.

* Only those students who had the aptitude, desire to learn and dedication in the art were encouraged to learn this art.

* The Gurus had the freedom to choose/accept a student as their disciple. Only those who were found fit were accepted as disciples. Similarly the disciples also could choose the Guru whose style they admired.

* The disciples who stayed in the Guru's residence for years could listen to one particular style and this facilitates the students to consciously and sub-consiciously imbibe their Guru's style well and make rapid progress in the art.

* The bondage between the Guru and Sishya was closer. This enabled disciples to be very much devoted to their Gurus.

None of the above features, unfortunately, is available in the modern system of music education. At present, the institutions only offer various courses to award diplomas and degrees. The private organisations, which give training in music are the main places that cater to the needs of the aspiring young students. This amounts to the preparation of large number of music performers. Unless efforts are taken by the institutions to inculcate interest in the minds of young generation in classical carnatic music, it may lose its significance.

Music is an art, which has to be learnt in a systematic way. Our ancestors have prescribed certain exercises to be taught to the students to enable them to get acquainted with all the aspects of music — melodies as well as rhythmic. Unless these exercises are taught with perfection to each and every student in the beginning itself, and meticulously insisted upon, they will not be able to perceive the subtleties of ragas and rhythmic complexities taught in advanced classes.

The tendency among the young students at present seems to be to learn more and more number of songs in a short period of time. No wonder in such a case, perfection cannot be attained.

The main aim of music education should be to inculcate Sruti Jnana and Laya Jnana, the two fundamental aspects of music even in the early stages of music education. For this purpose, syllabus in lower classes should be prescribed in such way that the students get trained in at least some of the forms which are indispensable for the students of music, to grasp the subtleties of music, taught letter on in higher classes. Also the syllabus prescribed for higher classes conducted by various institutions viz. colleges and universities of different states is not of uniform standard. Autonomous colleges of the same university prescribe a separate syllabus. Some of the institutions give more emphasis to practical and some to the theoretical aspects. The number of papers, duration of papers and scheme of examination are not uniform for the same course conducted by different institutions. Thus there is a wide disparity in the standard of performance of the pupils who pass out from different colleges and the universities, though the degree awarded is same.

At present no strict norms are prescribed to admit students to various courses and the students admitted in various courses are not of equal standard. Sometimes it happens that, even those who have no aptitude for music are admitted. As a result, many students discontinue the course. Thus the effort taken, the money and the time spent will be a waste to the institution, as well as the student, is such cases.

The number of students to be admitted should be restricted to 15 in under graduation and 10 in post graduation course, so that individual attention is given to each student. Music is a subject, which requires individual attention.

The most serious problem in this system of education is that, students of both the sexes are admitted in a course. Girl students cannot sing to the pitch of boys and vice versa. This problem can be avoided by dividing the class into two sections, and allotting them to suitable classes. Female teachers may be assigned to teach girl students and male teachers for boys. Otherwise, the tonal quality of the voice of the students as well as the teachers gets affected. In some institutions there are only female teachers and in some there are only male teachers, to teach students, both boys and girls.

Only those who are competent in both practical and theory should be appointed as examiners so that there will be justification in the evaluation of the merits of the students. Even with regard to the appointment of examiners for higher studies like M.Phil and Ph.D, specilisation in the particular topic should be the one and only criteria for appointment and not their qualification or publicly acclaimed recognition. To evaluate a thesis of practical oriented topics, only persons with competence, not only in the performance and musicology, but also one who is conversant with the topic taken up by the candidate should be appointed. If such persons are not available experts should be appointed separately to evaluate the thesis and assess the standard of performance.

In colleges and universities only persons with knowledge in both theory and practicals should be appointed. The most important criteria to appoint a person is their skill in the subject (both theory and practical) and dedication in teaching, more than his/her eminence as a performer. All performers of eminence may not be good teachers and vice versa. In this regard, the UGC should prescribe the qualification for appointment as followed in other subjects.

Under graduate course and post graduate course in music through correspondence is only to give opportunities to students who learn music privately to secure the degree.

The responsibility of the institution is conducting the course and for which attendance is not compulsory, is less compared to the regular course conducted in colleges and universities.

But the problem of pitch referred to earlier is there in conducting practical classes. Classes should be conducted separately for men and women.

If steps are taken to rectify the above problem, the standard of performance by the students who come-out of the institution will be better and their role as teachers and performers will be more useful.

M. B. VEDAVALLI

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