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Indian
Classical Vocal Music and Bhajans |
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Mr.
Bhaskar Subramanian with a
student |
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| Faculty:
Mr. Bhaskar Subramanian |
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This
course involves Indian Hindustani Classical Vocal music
and Sahaja bhajans. Mr. B
.Subramanian is
blessed with a melodious voice, he sings Khayal, Tarana,
Tappa and Bhajans. He was also born in a family of
musicians, received intensive training in Hindustani
Classical Vocal music from Pt V.U.Rajurkar of Gwalior
Gharana. |
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He has
given many music concerts all over India, USA and Italy.
He is a top graded artist of All India
Radio, he
is also a composer and has written and compose many
songs. He is a devotee of Shri Mataji Nirmala
Devi and
practices and preaches Sahaja Yoga through music for
inner growth. |
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Pt.Subramanian
is a post graduate in music and is working as a lecturer
at the prestigious Shri P.K.Salve Kala
Pratishthan-Vaitarna, after serving in the
government
college of music and dance – Secunderabad for more
than 20years and in Bharatiya Vidya Bhavans
Public School for
7years. |
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| About the
subject: |
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Voice is a
natural instrument which does not need any outer help to
manifest itself. This is the reason why vocal music is
considered to be the highest form of fine arts. Much has
been written on the physical aspect of sound and how it
is produced by causing vibrations on particular parts of
the throat. But what makes the sound manifest as music,
on the mental plane, is an entirely different aspect.
This aspect of music has been very deeply thought about
and dealt with by a great Sufi saint-musician Hazarat Inaayat
khan. While
writing about mysticism of sound and music, he says
“ When the spirit desires to
express itself in voice, it first causes the activity in
mind and the mind by means of thoughts, projects finer
vibrations in the mental planes. These in due course
develop and run as breath through the regions of the
abdomen, lungs, throat, mouth and nasal organs causing
the air to vibrate al through, until they manifest on
the surface as the voice”. All this
has been said because the voice manifested through the
physical organs, is an attitude of mind. So the
metaphysical and emotional aspect of music help in
training the physical voice for attributing to this
celestial art of deeper meaning. Thus training voice is
like training the mind itself. |
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Indian
music is considered sublime and has a very vast and rich
tradition. Whilst music is the bliss, Sahaja music is
divine bliss. |
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| 3 MONTHS COURSE |
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Please
Note: Combined
group and individual learning will be conducted
according to need and ability of the student, at the
discretion of the course Director. Students will be
required to document all their experiences throughout
the course. Most weeks will comprise of 4 days practical
study and 1.5 days of assessment.
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| 12 Week
Schedule: |
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| Month
One |
| Week
One |
Week
Two |
Week
Three |
Week
Four |
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-
Voice Culture by Singing various types of
Alankaras in various Tal and in various Tott viz.
Bilawal, Kalyan, Kafi and Bhairav
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One simple Bhajan with meaning and notations
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-Daily
practicing, Madhya, Mandra and Tar Saptak Alamkar.
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One Bandish (Khyal) and one Tarana in a Rag with
simple aalap and tal.
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Writing the bandish in notations.Learning Teen Tal
and Ek Tal. |
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Revision of previous week’s portion and learning
two Sahaja bhajans with meaning and notations.
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Introduction of Theory of Indian Music.
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One bandish in rag and one Tarana with aalap and
Taan
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Writing the meaning and notations. Revision
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| Month
Two |
| Week
One |
Week
Two |
Week
Three |
Week
Four |
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Learning one Lakshan Geet in one Rag.
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Two Sahaj Bhajans writing the meaning and
notations. Revision |
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Revision of all portion,
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Individual Singing, Training and Practices.
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Individual Singing and preparing for stage
programs.
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Two Sahaja bhajans. |
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One Sahaja Bandish and a Tarana in one Rag with
aalap and taan and one lakshan geet.
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| Month
Three |
| Week
One |
Week
Two |
Week
Three |
Week
Four |
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Revision and class tests.
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Theory of Indian Music. Scientific details of all
ragas and Tal.
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Learning one Dhrupad |
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Learning 2 Sahaja bhajans with their meaning and
the notations.
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Learning to tune Tanpoora.
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Learning Rupak Tal and Jhap Tal.
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Individual examination and clearing of doubts
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Revision and checking of notes and final touchup
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Learning one bhajan.
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