VADYA SANGEET ( INSTRUMENTAL MUSIC ) GURUKUL

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 GIST :-

The thesis is about Indian classical instrumental music learning which is nowadays
not in much practice and if practiced then only in some regions of India. The
existing idea is to make people familiar with Indian culture and to showcase the
diversity in India. Being one of the art forms of SAPTKALA, it has different
traditions and forms with its own cultural significance from which the thesis is
based on Indian Classical Instrumental Music.

AIM AND OBJECTIVE :-

 The main objective of this study is to highlight Indian Instrumental Music.

 There is a need to analyze the relative importance of Instrumental Music.
 Music is cultivated as an ART to attain perfection so with an aim to create a
modern era Gurukul that will be a guideline for anyone who wants to study in
Gurukul with new talents.
 The project will also aim to create and nurture some of the finest exponents of
Indian classical instrumental music by following the Gurukul tradition.
 In the era of modernization where the traditions have changed into modernism
but in India the traditional way of learning music i.e. the guru-shishya parampara
still exists.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 SCOPE :-

 To make people more familiar and known to Indian culture and to give training
to new generation with different atmosphere, there is a need of cultural
importance.
 Due to this type of learning with study will be a refreshment for people.
With new compositions and ideas a new level of achievement will be earned at
national - international level. It can also bring out model for Gurukul in the
modern era.
 It will be helpful for the one who wants to open a new institution with a mix of
traditional and modern ideas.
 It will also be helpful to them to know the proper way of teaching music so in
future they can take quality decisions to create new talents and performers in
Indian Instrumental Music.
 In future the Gurukul would also act as a magnet to attract talent from all over
the world.
 India, being a cultural hub, Gurukul will be seen as a point of attraction and can
also be a relative platform for spreading and nurturing Indian Classical
Instrumental Music globally.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 IMPORTANCE OF MUSIC IN ARCHITECTURE :-
 Music and architecture have many things in common such as rhythm, texture, harmony,
proportion and dynamics. Rhythm and architecture are similar in many ways.
 Rhythm has much to do with pattern. Patterns can be found in both music, through beat and
repetition, but can also be found in shapes or structural elements in architecture.
 Texture is also a key concept of architecture and music. Texture in music has to do with the
layering of different sounds and rhythms by different instruments. Materials in architecture can also
display texture. The combination of different materials can show a wide variety of different
textures and how they can interact with each other.
 Architecture and music also have harmony in common. Harmony can be from balance in a musical
work or it can also be through a balance of a part to a whole. Architecture can show harmony
through the successful use of different materials or designs in a space together to become one
unified space.
 Proportion in relates to harmony in many ways. The right proportions in music in intervals and
notes can help create a harmony throughout the work. Proportions with materials in architecture
also create a balance.
 The correct balance can harmonize an architectural setting. Architecture and music also share
dynamics. Dynamics deals with quality.
 Music and architecture need certain qualities and standards to make the works worthwhile and
meaningful. Music and architecture can be paralleled in many more ways than one.
 Rhythm, texture, harmony, proportion, and dynamics all are tied into the arts in some way;
whether it is through buildings or songs. Either way the overall qualities shared between music and
architecture can help inspire each other. The more qualities in common, the more influence music
and architecture can have on each other through emotions and the overall meanings of works.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 SITE :-

Pune, Maharashtra
 Cultural capital of Maharashtra.
 Strong cultural and historical background.
 It exemplifies marathi culture and ethos in education, arts are given due
prominences.
 Veritable heartland of Maharashtra.
 Annually hosts a lot of cultural events and programs from vocal and instrumental
classical music to new age of music festivals for all age groups and communities.
 Although there are very few existing facilities for arts and culture in Pune. There is
no one platform for whole experience.
 Individual theatres, auditorium, art gallery, museum are there but not under one
roof.
 Multi musical art and cultural centre will be first if proposed in Pune.
 Can be a centre to showcase culture, art and diversity.
 Rapid urban development.
 City is taking certain initiatives to enhance the quality of life and making city
liveable.
 Intent of new connectivity, both digitally and physically i.e. e-commerce and metro
promoting public transport.
 There is a need to upgrade and uplift art in city.
VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS
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 ARTISTS IN PUNE :-

1. Mahesh Kale- Indian Classical vocalist

2. Vikas Kashalkar- Indian Classical vocalist
3. Rahul Deshpande- Indian classical music singer
4. Bharat Kamath- Hindustani classical tabla player
5. Sanjeev Abhyankar- Maestro of the Mewati Gharana
6. Bhaskar Chandavarkar- Indian sitar player
7. Purushottam Laxman Deshpande- Harmonium player
8. Saleel Kulkarni- Marathi Music Composer, Author, Singer
9. Anand Modak- Music director in Marathi cinema and Marathi theatre
10. Amar Oak- Indian classical and light music flautist
11. Ramdas Palsule- Indian tabla player
12. Ashok Damodar Ranade- Scholar Musician
13. Rahul Ranade- Indian Singer and Music composer

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 NATIONAL INTERNATIONAL LEVEL COMPETITIONS FOR INSTRUMENTAL MUSIC

1. Voice of India, Mumbai

2. Global Harmony, Pune (Akhil Bharatiya Sanskrutika Sangh)
3. Dr. Vasantrao Deshpande Smriti Sangeet Samaroh, Nagpur
4. Vasantotsav-Taalchakra,Pune
5. Sawai Gandharva Sangeet Mahotsav, Pune
6. Radio Music Competition-Akashvani
7. Naad Bhed, Pune
8. Hari Vallabh Sangeet Pratiyogita, Jalandhar
9. Classical Tabla Solo Competition, Pune
10. National Indian Music Competition, Singapore
11. National Youth Festival
12. Canadian Music Competitions
13. Poornvad Yuva Forum, Tapasyasiddhi Kala Academy, Pune

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 INSTRUMENTS - MAGIC OF SOUND

The instruments of Indian classical music have their very own distinctive sound magic.
Most typical are their shimmering overtones caused by bridges with curved surfaces
and many sympathetic strings and the ability of imitating many aspects of the human
voice.

1. Tanpura
2. Sitar
3. Sarod
4. Veena
5. Bansuri
6. Santoor
7. Sarangi
8. Harmonium
9. Tabla
10. Jal Tarang

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 TANPURA - SYMBOL OF ETERNITY
 Even before the first note of a raga is played or sung, you
can hear almost always a fine shimmering drone sound in
Indian music which continues unchanged in the
background during the whole raga performance. It is
played on the tanpura one of the least known and yet most
traditional and important instruments.
 The tanpura with its constant drone always defines the
tonic it is the foundation on which the whole intricate raga
architecture is built the canvas on which the raga painting
is painted and the earth on which the raga is dancing.
 Tanpura usually have four or five strings which are
always plucked open in a constant rhythm. The plucking is
so soft that the vibrations of each string appear to merge
into a continuous shimmering sound.
 The tanpura symbolises the eternal ground of being from
which all (musical) creation unfolds. Since tanpura are
tuned to the particular high or low tonic of each singer or
instrument, they are available in different sizes and
shapes.
 Typical is the type with large dried gourd for a resonator
and an attached long neck made of wood. In concert,
students of the main artists usually play the tanpura for
them.
VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS
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 SITAR - THE SOUND OF INDIA
 Probably no other instrument has a more typically Indian
sound than the sitar. Primarily due to the world renowned
sitar master Ravi Shankar its silvery sound has become the
epitome of Indian music.
 It is a technically demanding solo instrument, usually with
17 to 20 strings. Of these, only six or seven are used as
playing strings. The remaining 13 are not be plucked, but
vibrate in resonance when their pitch is played on the
melody strings.
 Thus the sympathetic strings create a kind of built-in
reverb. Similar to the tanpura the sitar has a gourd resonator
with a long wooden neck. Many sitars have an additional
second resonator up at the back of the neck.
 Tied across the neck are metal frets. Pressing the strings
down on them changes the pitch similar to a guitar. One can
also change the pitch by pulling the strings laterally thus
increasing their tension.
 This bending technique is particularly well suited for
imitating the continuous movements of the human voice
after all Indian classical music is all derived from singing.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 SAROD - THE UNFAMILIAR EXCELLENCY
 In Europe the sarod is much lesser known than the
sitar although it enjoys the same high status as a solo
instrument in India.
 Its sound is rounder and more brilliant than of the
sitar. The plucking with a thick plectrum made of
coconut allows an extremely dynamic rhythmic
playing that can unfold a very powerful volume
thanks to replacement of a wooden top by a goat
skin.

Another unique feature are the subtle melodic

articulation possibilities :-

 The four melody strings are pressed with the

fingernails onto an extremely smooth fretless
chromium-plated stainless steel fingerboard.
 Any small change in the position of the finger nail
changes the pitch thus sliding along the string allows
for fascinating melodic expression.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 VEENA - KING OF INSTRUMENTS

 The word veena is actually a generic term for various

stringed instruments. Best known are the Rudra veena
in Northern India and the Saraswati veena in South
India.
 The Rudra veena is several centuries old was long
regarded as the noblest of all instruments and is today
seen as one of the precursors of the sitar.
 Its two big gourd bodies are mounted on a wooden
resonance tube along which the strings run. Metal frets
are mounted on top of the tube.
 The Rudra veena has an archaic, majestic character and
is now unfortunately almost extinct. Very much alive
however is the Saraswati veena main solo instrument of
Carnatic music and therefore the correspondence to the
North Indian sitar.
 Its shape with a spherical body, long neck, frets, pegs
and second upper resonator is similar to that of the sitar.
However, the Saraswati veena has no sympathetic
strings and is made of other materials.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 BANSURI - KRISHNA'S ALLURE

 The Bansuri is actually nothing more than a

simple dried and hollowed bamboo with six or
seven finger holes and one hole for blowing.
 It is blown like a Western flute and has an
important place in the mythology of Hindu god
Krishna as a young man. Krishna beguiled the
hearts of the girls and lured them to erotically
coloured games with his small, high-pitched
bansuri.
 For centuries, the bansuri was simply a folk
instrument popular but very limited in its
possibilities due to its simplicity. It was not until
the mid 20th century that musicians began to
perform classical ragas on particularly large,
deep, warm and round sounding bansuri.
 Since the bansuri has no mechanism these large
instruments are very difficult to handle due to
the required finger spread.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 SANTOOR - THE SCENT OF KASHMIR
 The santoor is originally a folk instrument from
Kashmir, the mountainous Northern border region
between India and Pakistan.
 Its enchanting, crystal-clear sound cascades have
won it fans all around the world today.
 The resonator is a trapezoidal wooden box and it
has about 90 strings in total. Three adjacent
strings each are tuned to the same note and run
over one small bridge together, giving the santoor
a total of 30 notes.
 The strings are struck with two wooden mallets,
which are held between the fingers of the right and
left hand.
 The pre tuned pitches can not be changed while
playing no sliding sound movements are possible.
 In spite of this limitation, the santoor has
conquered its place among the classical Indian
solo instruments over the past decades, thanks to
its sophisticated rhythmic possibilities and refined
new playing techniques.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 SARANGI - THE SINGING SOUL

 The singing nasal sound of the bowed string

instrument sarangi is one of the most fascinating
phenomena in Indian music.
 It has more sympathetic strings than any other Indian
instrument and thus unmatched reverberation
especially because the vibration of the melody strings
directly transmits to the sympathetic strings through
the thin goat skin on the wooden body.
 The melody is played on three gut strings. The pitch is
altered on these strings without fingerboard or frets by
laterally pushing against them with the nail bed.
 This unique technique and the very short distance
from note to note provide an unbeatable flexibility in
articulation.
 Thus, the sarangi is better able to imitate all the
subtleties of the human voice than any other
instrument. Traditionally, it was therefore mostly used
for vocal accompaniment.
 But today it can also be heard as a solo instrument.
Unfortunately, due to the demanding technique, less
and less musicians are still playing sarangi nowadays.
VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS
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 HARMONIUM - EUROPE IN INDIA

 The harmonium, an immensely practical, easy

to play instrument has widely replaced the
sarangi in vocal accompaniment today.
 It was invented in the 19th century in Europe
and then imported to India and modified.
 In the West it is now virtually extinct but in
India it thrives as the universal accompaniment
for all classical and semi-classical singing style
as for devotional songs of various traditions,
bhajan, kirtan and mantra chanting to qawwali
and shabad.
 The Harmonium doesn't have to be tuned you
don't need practice to produce a sound and you
can support a voice very well without get in its
the way.
 You just pump the bellows at the back of the
instrument press the keys on the keyboard with
the other perfect for everyone. The harmonium
is not used as a classical solo instrument,
though.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 TABLA - A UNIVERSE OF RHYTHM
 The dancing fingers on the tabla move faster than the eye
can follow and produce a sparkling rhythmic hurricane that
one would never have expected from a single musician.
 If you have ever seen a good tabla player in live performance
you will most likely never forget the experience. The tabla is
one of the most complex rhythm instruments in the world
and offers a variety of sounds as wide as that of a whole
percussion ensemble elsewhere.
 It consists of two hand drums that are always used together
as a pair. The smaller one is made of heavy wood and can both
produce precisely tunable bell clear sounds as well as noise
like slaps and taps.
 The larger bulging drum usually made of chromium plated
copper provides the bass. By pressure and movement of the
hand resting on the skin the pitch can be changed with
incredible flexibility while playing so that the instrument
seems to be speaking literally.
 Crucial for the sound is a black paste of cooked rice mass
and iron filings which is applied in a complex process on the
drum heads made of goat skin.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 JAL TARANG - BEYOND IMAGINATION
 Jal Tarang is an Indian melodic percussion
instrument.
 It consists of a set of ceramic or metal bowls
tuned with water.
 The bowls are played by striking the edge with
beaters one in each hand. The earliest mention of
the jal tarang is found in book Vatsyayana's
Kamasutra as playing on musical glasses filled
with water.
 It is one of the 64 Arts and Science to be studied
by a maiden. Jal tarang also finds mentioned in
medieval Sangeet Parijaat text categories this
instrument under Ghan Vadya.
 Sangeet Saar considered one with 22 cups to be
complete jal tarang and one with 15 cups to be of
mediocre status.
 Cups, of varying sizes are made of either bronze
or porcelain. Jal tarang was also called jal-yantra
in the medieval times poets of Krishna cult (Asht-
chhap poets) have mentioned this instrument.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 CASE STUDIES:-

LIVE CASE STUDY:-

1. MIT Vishwashanti Sangeet Kala Academy, Pune, Maharashtra

2. Dr. Gangubai Hangal Gurukul, Hubli, Karnataka
3. Indira Kala Sangeet Vishwavidyalaya, Khairagarh, Chattisgarh
4. Gurukul by Gundecha Brothers, Bhopal, Madhya Pradesh

LITERATURE CASE STUDY:-

1. Swarnabhoomi Academy of Music, Kancheepuram, Tamil Nadu

2. Rabindra Bharti University, Calcutta, West Bengal

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 MIT VISHWASHANTI KALA SANGEET ACADEMY, PUNE, MAHARASHTRA
MIT Vishwashanti Sangeet Kala Academy has been established with the objective of
promoting Indian Classical Music and Dance in their purest form. The aim is to
channelize efforts to project Indian Culture, Traditions and Philosophy in their
truest beauty before the world. Indian Classical Music and Dance have their origins
in the pre-Vedic times and have retained their original form despite the passage of
time.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 DR. GANGUBAI HANGAL GURUKUL, HUBLI, KARNATAKA
 Dr. Gangubai Hangal Gurukul is established by the Government of Karnataka in the fond
memory of legendary musician late Padmavibhushan Dr. Gangubai Hangal. It is set up
with an ambitious desire of imparting professional training in Hindustani classical music
to young talented artists to prepare them for reaching excellence in Hindustani music
and hone their talent to international level. It is modeled on Guru-Shishya Parampara
without any regimented and rigid curriculum. The Gurukul is set up with all facilities to
accommodate 6 Gurus and 36 students administrated by state govt of Karnataka.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 INDIRA KALA SANGEET VISHWAVIDYALAYA, KHAIRAGARH, CHATTISGARH
 Established in the Year 1956, Indira Kala Sangeet Vishwavidyalaya “IKSV” is situated
in the Khairagarh township of Chhattisgarh State of India. A different University by its
type, where higher education is imparted in the field of Arts. It is the Asia’s first
University which is fully dedicated to various forms of Music, Dance, Fine Arts and
Theatre.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 RABINDRA BHARTI UNIVERSITY, CALCUTTA, WEST BENGAL
COURSES OFFERED
Dance 1962 B.A., M.A., English, Bengali
M.Phil., Ph.D.,
D.Litt.
Drama 1962 B.A., M.A., English, Bengali
M.Phil., Ph.D.,
D.Litt.
Instrumental 1976 B.A., M.A., English, Bengali
Music M.Phil., Ph.D.,
D.Litt.
Mass 2001 MA, Ph.D., D.Litt. English, Bengali
Communication
& Videography
Musicology 2001 M.A., Ph.D., English, Bengali
D.Litt.
Percussion 1976 B.A., M.A., English, Bengali
M.Phil., Ph.D.,
D.Litt.
Rabindra Sangeet 1978 B.A., M.A., English, Bengali
M.Phil., Ph.D.,
D.Litt.
Vocal Music 1962 B.A., M.A., English, Bengal
M.Phil., Ph.D.,
D.Litt.

The Rabindra Bharati University was established in

1962 to mark the birth centenary of the legendary
poet Rabindranath Tagore, who was the first Indian as
well as Asian recipient of the Nobel Prize for
Literature.

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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 SWARNABHOOMI ACADEMY OF MUSIC, KANCHEEPURAM, TAMIL NADU

VIDYAMANDIR COLLEGE OF ARCHITECTURE NAME-SHIVANI SHAH SUB-RESEARCH AND PROJECT SKILLS

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