Teaching Indian Music in the West: Problems, Approaches and Possibilities

1986 ◽  
Vol 3 (3) ◽  
pp. 267-278 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Western Music ◽  
The West ◽  
Traditional Methods ◽  
Wide Range ◽  
Indian Classical Music ◽  
Indian Music

This article explores ways in which the elements of north Indian classical music may be taught in a western context. It examines traditional methods of teaching in India and points out the difficulties of transferring such methods into Western music education. The basic materials of Indian music are examined, with a view to using them to heighten awareness of music in general, but not necessarily to produce solo performers. The article suggests ways in which Indian music can be explored without compromising its inherent complexity, sense of form and aesthetic beauty; while, at the same time, making it more accessible to a wide range of people.

scholarly journals Theology of Music and Hindu Religion: From Divine Origins to Classical Songs

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 663
Author(s):  
Guy L. Beck
Keyword(s):  
Classical Music ◽  
Ancient Greek ◽  
World Religions ◽  
Biblical Narratives ◽  
Hindu Religion ◽  
Indian Classical Music ◽  
Indian Music ◽  
The Rich

As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).

scholarly journals A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita

SAGE Open ◽  
2016 ◽  
Vol 6 (4) ◽  
pp. 215824401667451 ◽  
Author(s):  
Santosh Kumar Pudaruth
Keyword(s):  
Special Reference ◽  
Aesthetic Experience ◽  
Classical Music ◽  
Ultimate Reality ◽  
Spiritual Exercise ◽  
Art Forms ◽  
Indian Aesthetics ◽  
Indian Classical Music ◽  
Indian Music ◽  
The Aesthetic

Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.

scholarly journals A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS

2021 ◽  
Vol 2 (2) ◽  
pp. 83-92
Author(s):  
Utpala Karanth ◽  
Dr. R Rangan
Keyword(s):  
Music Theory ◽  
Classical Music ◽  
The South ◽  
Sufficient Knowledge ◽  
South Indian ◽  
Indian Classical Music ◽  
Indian Music ◽  
Ancient Texts

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.

A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music

2006 ◽  
Vol 1 (3) ◽  
Author(s):  
John James Napier
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
Indian Music ◽  
Instrumental Accompaniment ◽  
The Individual

This paper investigates the interrelation between two aspects of North Indian classical music that at first might appear to occupy opposite poles of creativity and constraint. The first is the soloist’s actual construction of melody itself, and the interpretation of this as improvised. The second is sangat, the imitative instrumental accompaniment afforded such melodies when performed by vocalists. I argue that the conventional description of North Indian music as ‘improvised’ downplays the importance of the re-presentation of fixed materials, thus underemphasising the projection of tradition and transmission. In turn, I suggest that sangat has a homologous relationship to pedagogy, the process of transmitting traditional materials. Both melodic construction and imitative accompaniment derive aspects of their overall form and quality from, and may be understood in reference to, an ideational cluster that attempts to reconcile a socially validated and hierarchically underscored conservatism with an acceptance of individual innovation. Both practices may be seen as performed subjectivities standing at temporal interstices between tradition and contemporaneity, the broadly cultural and the individual.

Embracing identity: An examination of non-Western music education practices in British Columbia

2019 ◽  
Vol 37 (2) ◽  
pp. 286-297
Author(s):  
Beth Tuinstra
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Classical Music ◽  
Traditional Music ◽  
Music Educators ◽  
Music Programs ◽  
Classroom Culture ◽  
Western Music ◽  
K 12 ◽  
To Receive

Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

Intonation in present-day North Indian classical music

1963 ◽  
Vol 26 (1) ◽  
pp. 119-132 ◽  
Author(s):  
N. A. Jairazbhoy ◽  
A. W. Stone
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
The Subject ◽  
Indian Music ◽  
General Opinion

Most Sanskrit texts dealing with Indian music refer to 7 svaras (notes) and 22 śrutis (intervals ? microtones ?) which are said to be the basis of Indian music. Many modern writers in Western as well as the vernacular languages consider that śrutis refer to the microtonal variations in particular notes from one rāga to another. In order to convey the general opinion on the subject of intonation, we quote from Alain Daniélou, a prominent writer on North Indian music:‘It is impossible to sing the complete scale of the shrutis accurately in succession (as some singers pretend to do), but they can all be sung with perfect accuracy when they are embodied in expressive scales’.

scholarly journals Relevance of Music in Vedic Traditions and Contemporary Context

2021 ◽  
Vol 9 (VI) ◽  
pp. 4954-4958
Author(s):  
Dr. Mrs. Tanuja Nafde
Keyword(s):  
Classical Music ◽  
Research Topic ◽  
The Core ◽  
The Earth ◽  
History Of ◽  
Indian Classical Music ◽  
Indian Music ◽  
Topic Theory ◽  
Contemporary Context

Indian classical music has a very long-accumulated heritage of centuries. The origin of Indian music can be traced back to nearly two thousand years ago. It is undisputedly believed that the sage Narada introduced the art of music to the Earth, also it is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents divinity. Scientifically structured Indian music owes its origin to the Samaveda. The Veda scriptures describe all the seven notes of the raga karaharpriya in descending order, which is a favorite research topic theory and treatise writers to explore, how the core sound ‘Om’ gave rise to the various notes. The first evidential reference to music dates back to 500 BC by Panini and the first reference to musical theory dates back to 400 BC found in Rikpratisakhya. Bharata’s Natya Shastra dating 4th Century AD contains several chapters on music. This is the first known work that clearly elaborated the octave of its structured characteristics for various applications. There is an eternal statement about the history of Indian Music, that "classical Indian music is derived from the Vedas". Although no one can say that this statement is false, it is deceptively simplistic, when discussing the Relevance of Music in Vedic Traditions and contemporary context.

scholarly journals A critical analysis of teaching of Indian classical music through distance learning system in higher education.

2017 ◽  
Vol 5 (2) ◽  
pp. 225-232
Author(s):  
Dwijesh Upadhyay ◽  
Nirmala Joshi
Keyword(s):  
Higher Education ◽  
Distance Learning ◽  
Music Education ◽  
Classical Music ◽  
Teaching Method ◽  
Fine Arts ◽  
Learning System ◽  
Teaching System ◽  
Distance Learning System ◽  
Indian Classical Music

The relation of any fine art expresses the elixir of human, physical, and physical world. As civilization grows more and more civilized and cultured, the development of fine arts reaches its peak. Music is a major part of the fine arts. The place of music in Indian civilization is paramount in the fine arts. The great Indian civilization has been underlining the importance of music education since its height. From ancient Vedic and medieval to modern times, the Indian educational system has been concentrating on the education of music; all its parts such as singing, playing and dancing. In the present era, radical changes in the teaching system can be reflected. Divisions like traditional and distance education can also be reflected in the teaching system. Today, the importance of a flexible and alternative system of remote education system cannot be denied. Needless to say that through remote learning, changes in the importance of traditional teaching of music, guruship relations, internal learning method of music and music in life; the importance of all its organs. In the present era, while on the one hand there has been a remarkable change in social and personal life, changes in the teaching method of all subjects can also be targeted. The importance of many new dimensions developed in music education through remote means can be understood. State-of-the-art mediums such as audio, audio, video via Internet, sophisticated equipment of communication, television and radio etc. can be used successfully in music teaching by remote media.The objective of the paper presented is to find a way to solve the problems arising out of it and the benefits of acquiring higher education of Indian classical music through a distance learning system. किसी भी ललित कला का संबंध मानव के दैहिकए दैविक और भौतिक जगत के उत्‍कर्ष को व्‍यक्‍त करता है। सभ्‍यता ज्‍यों.ज्‍यों अधिकाधिक सभ्‍य एवं सुसंस्‍कृत होती जाती है त्‍योंदृत्‍यों ललित कलाओं का विकास अपने चरम पर पहुंचता जाता है। संगीतए ललित कला का एक प्रमुख अंग है। भारतीय सभ्‍यता में संगीत का स्‍थान ललित कला में सर्वोपरि है। महान भारतीय सभ्‍यता अपने उत्‍कर्ष काल से ही संगीत की शिक्षा के महत्व को रेखांकित करती आई है। प्राचीनए वैदिक एवं मध्‍यकाल से आधुनिक काल तक भारतीय शिक्षण प्रणाली संगीत ;उसके सभी अंगों यथा गायनए वादन एवं नृत्‍यद्ध की शिक्षा पर अपना ध्‍यान केन्द्रित करती रही है। वर्तमान युग में शिक्षण प्रणाली में आमूल चूल परिवर्तन को परिलक्षित किया जा सकता है। शिक्षण प्रणाली में पारम्‍परिक एवं दूरस्‍थ शिक्षा जैसे विभाजनों को भी परि‍लक्षित किया जा सकता है। आज दूरस्‍थ शिक्षा प्रणाली की लचीली तथा वैकल्पिक व्‍यवस्‍था के महत्‍व को नकारा नहीं जा सकता। कहना न होगा कि दूरस्‍थ शिक्षण माध्‍यम से संगीत की पारम्‍परिक शिक्षाए गुरूदृशिष्‍य संबंधोंए संगीत की आंतरिक शिक्षण पद्धति तथा जीवन में संगीत;उसके सभी अंगोंद्ध के महत्‍व में आए बदलावों को अनुभव किया जा सकता है। वर्तमान युग में जहां एक ओर सामाजिक एवं व्‍यक्तिगत जीवन में आश्‍चर्यजनक परिवर्तन आया है वहीं सभी विषयों की शिक्षण पद्धति में भी परिवर्तन को लक्षित किया जा सकता है। दूरस्‍थ माध्‍यम से संगीत शिक्षा में विकसित कई नए आयामों का महत्‍व समझा जा सकता है। तकनीकी के अत्‍याधुनिक माध्‍यमों दृ जैसे ऑडियोदृविडियो माध्‍यमए इंटरनेटए संचार के अत्‍याधुनिक उपकरणए टेलीविजन एवं रेडियो आदि का उपयोग दूरस्‍थ माध्‍यम द्वारा संगीत शिक्षण में सफलतापूर्वक किया जा सकता है । प्रस्‍तुत शोधपत्र का उद्देश्‍य दूरस्‍थ शिक्षण प्रणाली के माध्‍यम से भारतीय शास्‍त्रीय संगीत की उच्‍च शिक्षा ग्रहण करने के लाभए इससे उत्‍पन्‍न समस्‍याओं एवं उनके निराकरण का मार्ग खोजना है ।

Integration of Arabic and Western music by means of introducing Arabic music in German primary music curricula

2008 ◽  
Vol 19 (1) ◽  
pp. 11-21
Author(s):  
Rami Haddad
Keyword(s):  
Music Education ◽  
German Society ◽  
Western Music ◽  
Music Students ◽  
The South ◽  
The West ◽  
The North ◽  
Fields Of Study ◽  
Arabic Music ◽  
The World

Abstract. The purpose of this study was to obtain the opinion of German music students engaged in two musical fields, music education and musicology, concerning the introduction of Arabic music in German schools and eventually into German society. As music is widely considered a language that can be understood and perceived all around the world, even if each style of music has its own identity and reflects the culture of its nation, it can still be considered as a means of integrating the West and the East, as well as the North and the South. The results of this study show that Arabic music can be accepted and understood by German music students from both fields of study. These students see the advantages and benefits of introducing Arabic music to German schools.

Reflecting surfaces: the use of elements from Indian music in popular music and jazz

Popular Music ◽  
1988 ◽  
Vol 7 (2) ◽  
pp. 189-205 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
North India ◽  
Western Music ◽  
Pop Music ◽  
The World ◽  
The Sixties ◽  
Indian Music ◽  
Reflecting Surfaces

In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

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