Dr. Narendra Kaur, Associate Professor
RRMK Arya Mahila Mahavidyalaya, Pathankot, Punjab
Academia ID: https://independent.academia.edu/NarendraKaur2
Abstract
Music is the finest among all the fine arts viz poetry, architecture, painting and sculpture. All these four fine arts influence only the human mind but not an animal or plant. It is the art of music only which has power to charge an animal and has energy to flourish a plant. It is a talent gifted by God and chiseled with training and practice. During the days of yore, the art of music was used to be learnt individually by gurus staying in the gurukuls for years. In those days, disciples, after serving and satisfying their gurus, would earn a chance to get training from guru. In this way, an art like music remained transferred from one generation to another generation. By the passage of time and with the strenuous efforts of the scholars like Bhatkhande and Paluskar, music entered the educational institutions. It was greatly welcomed along with education and got a respectable place even. Travelling a journey of about 100 years in educational institutions, music is again facing new challenges and difficulties in its way because of changing trends, western impact and lacking interest of our young ones. The aim of this paper is to underline the contribution of the institutional education of music towards the growth of the art of music and discussing the challenging factors occurring in the process of teaching-learning of music in an educational institution.
Keywords: Music, Gharana System, Guru-Shishya-Parampara, Music Education
Introduction:
Training of music takes place in two main ways: Individual training and Institutional teaching-learning. The tradition of guru-shishya-prampra is a centuries old system for Individual training of music. In antient times it was practiced in gurukul, the guru’s house where disciples used to reside all through the day and night for a number of years and take training of the art of music. It was around 1880 when Pundit Adityaram in Jamnagar, Maula Baksh in Baroda and Surendra Mohan Tagore in Calcutta started institutions for training of music. But on a larger scale, it was only Vishnu Narayan Bhatkhande and Vishnu Digambar Paluskar who started institutions for music learning. They both popularized music all around India by opening music learning institutions at various places. A large number of students started enrolling in these institutions. Vishnu Digambar Paluskar, in 1901, opened his first music school at Lahore for imparting formal training in Hindustani Classical Music. (Kumar Rishitosh, 2010:112). This was a school open to all and first of its kind in India to run on public support and donations rather than Royal patronage and was named as Gandharva Mahavidyalaya. Within 25 to 30 years, many schools of this kind were opened all over India to quench the thirst of music aspirants. In gurukul tradition, only selective as well as talented individuals could avail training. Disciples had to undergo through a long way continuously residing in gurukul for years. After a number of years, they could get opportunity of getting training from guru. Doing riyas in front of the guru and on the other hand guru also gives to the fullest, takes responsibility to train them completely up to the mark to make his disciples artistes and to feed them also, in return the disciples used to furnish guru’s household chores cleaning, washing and serving the guru in many ways was the spirit of this tradition. There was no fixed syllabus, no organized examinations, no books etc. recommended like today’s educational system. A crucial moment in the history of music was in 1668-69 when emperor Aurangzeb ordered a ban on music. Italian traveler Niccolai Manucci, who documented the event, wrote about a “great destruction in musical instruments” Traditionally historians have understood this ban as being uncompromisingly enforced, and a mark of Aurangzeb’s orthodox and repressive tendencies. More recent scholarship, however, has noted that the ban on music by Aurangzeb was perhaps just restricted to his court, even as it flourished in the provinces and under the patronage of Mughal nobles in Delhi. Historian Katherine Butler Brown, explains that the decision to ban music was primarily due to personal reasons of grief and religious piety. “Several paintings, for example, produced between 1680-1710 at the court of Udaipur depict musicians performing for Maharana Jai Singh and Maharana Amar Singh,” writes Brown, adding names of several other such patrons both in Delhi and in the provinces. The emergence of gharanas by the end of the 19th century, is reflexive of the kind of sociological transformations that music underwent during the final years of the Mughal empire. Barlow and Subramanian write that in the course of this transformation, Hindustani classical music shifted from central north India to other metropolitan centres. The art of music kept on executed in Gharanas. Royal favouritism and family jealousies were part of this newfound system of music. Apart from Gwalior, some of the most popular gharanas for classical vocal music include the Jaipur-Atrauli, Agra, Patiala, Kirana, Indore, Mewat, and Bhendi Bazaar. Traditionally, a style of music had to be in existence for three generations for it to be declared a gharana. In recent times, the purity of the gharana tradition has diluted, and to be trained in multiple gharanas is often seen as an attribute of a good singer. However, many who strongly believe in the discipline of the gharanas have also expressed their disappointment at this intermingling. (https://www.jatinverma.org/musical-gharanas-in-indian-history accessed on 20.5.2024.)
Traditionally, in gharana system disciples were bound to sing only according to the specific training of their gharana. The disciples were not allowed to follow even the good practices of other gharanas. Sometimes gurus did not disclose the specific techniques of their skill and sometimes if, the guru himself lacks the skill and transfers the same to the disciples, the disciples also develop the same lack. In any case, they were not permitted to take training from any other gharana because it was taken as disrespect of their own guru and gharana. Due to the shortcomings inherent in the system and with the effect of time, the gharana system started fading. Institutional training in music came into existence with the efforts made by Pt. Vishnu Narayan Bhatkhande and Vishnu Digambar Paluskar. Institutional training in music started in two ways; 1. the institution which gives exclusively music training and 2. the mainstream academic institutions which provide music as a subject of study along with other subjects. The institutional system gave a respectable place to music learners (Chaudhary S. 1989: 16). It gave at par place to music along with other subjects. Due to the efforts of the torch bearers and stalwarts in their quest to serve this profession, music teachers could get at-par remuneration and status to other subject teachers. The talented ones need not to wander here and there for music training, rather they should get admission in any educational institution, take music as a subject to fulfill their desire and get an academic degree. Though all of the educational institutions are not having music as subject but still there are sufficient number of institutions which provide music as a subject of study.
Outcomes
Music is a talent which cannot be spoon fed. It is the embodiment of one’s internal instinct. Musical expertise can be achieved after a long journey of learning process. You can make one an artist only if he is talented but if one is not talented you cannot make him an artist. People generally expect a student of music to be a good singer, to be a good musician but getting expertise in music is not a yeoman’s job. It takes a long way to be skilled in music. (Garg M. 1982: 4). A student of physical education does not surely become a winning player, a student of political science cannot always be a politician, a student of physics is not always a physicist, a student of sociology is not always a social worker, a student studying psychology cannot assure to be a good counsellor, all students of English department cannot be good at written and spoken English, every Computer science student even studying engineering branch cannot be a good web designer or software developer or app maker, then how can a music teacher ensure all his music students to be good singers or perfect musicians?
Institutional training in music is oriented to enlightening the students about the subject of music, to instill love for music, to make the students aware of updates in classical music, to give them knowledge of musicology, of musicians, and of developments in music from time to time. The level of expertise varies from individual to individual (Kumar R. 2010: 115). The objective of gurukul system of teaching-learning was to create good singers and performers whereas the objective of institutional education of music is not only creating singers of classical music but also to create music thinkers, music listeners, musicologists, music lovers, music researchers, music critics and analysts (Kumar R. 2010: 115). We should never limit ourselves to focus on creating singers only, music researchers and analysts are equally important for the growth of Indian classical music and its awareness. We should not forget the contribution of Pt. Vishnu Narayan Bhatkhande and Pt. Vishnu Digambar Paluskar who contributed through their writings of Indian classical music. The gurukul system, though created Indian classical music singers but were marred with a number of demerits such as the narrow-minded approach of keeping the classic treasure of their art hidden which restricted the flourishing of the art of music. It was the great strides of Pt. Vishnu Narayan Bhatkhande and Pt. Vishnu Digambar Paluskar who wrote the notations and prepared musicology for coming generations to learn music.
Usually, artist of gharanas blame institutional education of music not capable of creating good performers of national repute for stage performances. For an individual to become an artiste, a natural instinct and passion is needed. As far as training is concerned, he needs individual attention for this. Artistes like Pandit Bhim Sen Joshi, Pandit Jasraj, Pandit Ravi Shankar, Pandit Hari parsad Chaurasia, Ustad Zakir Hussain are born with the art. We cannot claim someone to grow as an artiste like them. Training in schools and colleges occurs in groups while it is not possible in group training to give special training to an individual for creating artiste. Moreover, the educationists believe that it is more advantageous that all school and college students sing or play various instruments than that a gurukul producing a few professional musicians at the national level (Awasthi.S. S. 1963 :10).
In 1952, the secondary education commission in their report stressed for the need of including music as a subject of study in the school curriculum. According to the report, “there are a few other subjects also whose claims are either not so freely admitted or admitted in a grudging manner so that their position in the curriculum is regarded ornamental or at best secondary. In this group, we include art, music and craft. These subjects demand expression and achievement with as much importance in their own as the purely intellectual subjects, and they can be used for the education of the human mind as easily and effectively as those intellectual subjects”. (Mudaliar A.L. 1952:82)
Music is one of the God-given gifts to humanity (Sambamoorthy P. 1966:1). A course in musical pedagogy is absolutely essential for those who wish to take to the teaching of music in schools or colleges. Even those who wish to give private lessons in music at homes and academies will also be benefited with these courses in music pedagogy. (Sambamoorthy P. 1966:9). It is desirable that schools and colleges should engage qualified teachers of music to teach the subject and they should not be asked to teach other subjects even if they are qualified to do so. This will help music teachers to give their undivided attention to their subject and they can also practice for further upgradation of their singing and playing instruments. (Sambamoorthy P. 1966: 9). Compared to Europe, the percentage of people in India possessing a fair knowledge of science and art of music is low. Though music is very popular in India, musical understanding is at a low ebb. It is the fundamental right of every Indian citizen to receive education, not only in three R’s but also in music. He should be given a certain amount of basic musical education (Sambamoorthy P. 2010:10).
According to P. Sambamoorthy the aims of music teaching are: 1. To create an interest and enthusiasm in the mind of students for the study and practice of music, 2. To cultivate the formation of correct and sensitive taste in music, 3. To develop the musical instincts and the sense of musical appreciation, 4. To get a soft, clear, round, melodious and sweet tone, 5. To help in the intelligent and cultural enjoyment in the musical concerts (Sambamoorthy P. 2010: 17). Today we see how our youngsters are gradually drifting towards western music instead of our own classical music. Undoubtedly, we have world’s finest Raga Sangeet still our coming generations are losing interest in classical singing and classical percussion and non-percussion. Had the art of music not been in educational institutions, it would have been died much earlier. The institutional education of music have contributed to keep the art alive and accessible to all.
Challenges
Changing trends in music, influence of western music, competing with other subjects, lack of interest in Indian classical music, strength related norms of the institution, semester system, shortage of time due to various functions and activities, increasing number of absentees, changing lifestyles, lack of occupation and above all ability of the teacher are some of the factors which are accountable for affecting teaching-learning process of music in an institution.
Changing trends in music– Dhrupad of medieval period is no more in trend today and the popularity of vilambit khyal is also on the decline. Youngsters today do not like learning slow khyal. They take interest in fast khyal only as far as classical music is concerned.
Influence of western music- students today attract towards guitars. They like pop and rock music instead of Indian Classical Music.
Competing with other subjects– Students prefer to opt for the subject in which they get good grades and awards as the general tendency is. The problem spirals to a level where a music teacher facing shortage of student count has to give good awards to his students otherwise the strength of the students in the class will keep on falling in the coming semesters as the students will go for other subjects. In this situation, students take liberty as far as good performance is concerned. Today a teacher has to face competition in regards to the strength of the students in his subject. So all subject teachers try to increase the number of students in their class which creates negativity in an institution. For example: students willing to enrol in music may find themselves tricked into taking some other subject not of their interest resulting in their poor grades and its associated drawbacks such as lesser attendance in college, growing indiscipline, drop-outs etc.
Lack of interest in Indian classical music-Students today do not want to learn Indian classical music due to the level of difficulty, the hard training required and the challenges of performance. They like singing filmy songs and western songs.
Class-Strength related norms of the institution– Very few students who are talented and passionate about music, actually take music subject. However, to maintain the strength in class, a music teacher has to counsel other students to join music which sometimes leads to the deterioration in the level of teaching as the teacher will now have to devote more time and energy working on the basics for the non-talented students.
Semester system– for about a decade UGC has started semester system due to which a teacher gets only around three months in a semester. Generally, there are three ragas in a semester. This is not possible to train Fast and slow khyals in three ragas, in a period of three months. Comparatively annual system of examination gives a teacher sufficient time to complete the syllabus.
Shortage of time due to various functions and activities– All the institutions are trying to get good grades by national assessment and accreditation council. Institutions are organizing many activities due to which music teacher has to prepare teams for these which poses further constraints on the time to complete his syllabus.
Increasing number of absentees– With many resources available on internet and video platforms like YouTube, students tend to prepare for exams studying at home at their own. The number of absentees is increasing. Subjects such as music needs a student to be present in class to get the practical training.
Changing lifestyles– The present era is witnessing change in lifestyle. The simplicity is being replaced by new global trends and fashions and youngsters are fantasized by the content the popular social media platforms offer. The subject of music requires long Sadhana, but youngsters haven’t time for this. Canteen parties, birthday celebrations etc. consume lot of their time.
Lack of occupation– lack of occupation manifests throughout India that is why migration towards European and western countries is happening. Even the highly pursued professions like engineering and medical sciences are not sure to guarantee an occupation. They get good jobs and suitable work in the western countries and tend to settle over there. Same is the reason for the migration of a large number of classical musicians preferring to settle in western countries as they find it easy to run their academies over there.
Ability of the teacher – In the process of teaching-learning, teacher’s role is the most important. It is a teacher who influences his students in all aspects. Teacher is the motivation and poses as an icon for students. Since an institution requires a prospective teacher to be academically qualified and eligible for the post, sometimes a music teacher, though an eligible candidate, may not be a singer up to the mark and hence will fail to motivate his students. A capable teacher on the other hand can instill the passion for music even in the student’s lacking orientation and keep the charm of music alive among many generations. As a capable teacher with his charisma can touch the souls and lead even the non-doers to achieve recognition in the society. Therefore, a music teacher must be well versed in music theory and practical both. His responsibility is much more in comparison to other subject teachers. Only an efficient teacher can identify the capabilities of his students and train them accordingly (Kumar R. 2010: 117). But even an accomplished teacher is helpless when the situation is affected badly by the above-mentioned factors. An ideal music teacher is one who has a genuine taste and aptitude for music and must be really interested in this art. It is only then that he will be able to inspire enthusiasm for music studies among his students. A spirited teacher infuses life into the class. He must have a good character, a sense of sincerity and perseverance (Sambamorthy P. 2010: 14).
Conclusion
Plato asserts in ‘Republic’, “Musical’ training is a more potent instrument than any other because rhythm and harmony find their way into the inward places of the soul. Aristotle in his ‘Politics’ says “Education in music is well adapted to youthful nature; for the young owing to their youth cannot endure anything not sweetened by pleasure and music is by nature a thing that has a pleasant sweetness”. He says children must learn music because it charms them, purifies their soul and occupies the vacant hours.
We should never forget that today music is equally treated at par with other subjects only because of its inclusion in academic institutions. Music is perceived as a very respectable stream of study today. Equal weightage is given to music among the array of subjects. Music teachers today possess equal qualifications and salary grades. We should never blame the system which is the result of relentless efforts of the scholars like Vishnu Narayan Bhatkhande and Vishnu Digambar Paluskar rather we should try to overcome the shortcomings. From mere profession and enjoyment, the status of music has been uplifted to global heights. Music is considered by the educationists as a mandatory subject for emotional and spiritual growth of mind (Mudaliar A.L. 1952:82). It is a key to cultural and extra-curricular achievements for any institution and for its students. Fetching prizes in musical activities, institutions raise their levels in the society. As far as the question of creating performers is concerned though it is true that the institutional training has its own limits and course of curriculum, yet it has produced many music scholars as well as music lovers and even chiselled the art in many ways (Awasthi.S. S. 1963:10). It has provided platforms and stages to many artists. An artist always feels glorified when he performs on the stage of an institution. Guru-shishya-parampara has its own limitations and boundaries. It has limited resources. Every child does not have access to gurukul and every child cannot leave his home and reside at gurukul. Gurukul can produce artist only in a limited number; only a talented one or born artist can develop his art in gurukul, but at large, it is the educational institutions only which can help the art of music grow and develop globally. A talented one can flourish all around the world through an institution. He can grab a job of high repute by fulfilling the required qualifications. Learning music in an institution can provide all round development of personality of an individual. The aim of education is not merely creating the book worms, but to create enlightened souls who have taste for knowledge and interest in art forms, love for nature and tendency in appreciation of beauty; the one who is grown aesthetically and intellectually both. This is possible only when education is combined with art forms like music. It is far better for a society to have all humans enlightened with the knowledge of music and awareness for their good pass time having music activity than to have a very few professional musicians at national levels (Awasthi.S.S. 1963 :10) because small groups of society neither have access to artists of national level nor have so many resources to engage these artistes.
We all have heard from the performers of high repute that they used to practice a single raga for years. They used to practice even a single note for hours. Do we have so much time within the limits of an academic institution? A period of 45 minutes is assigned for an under graduate class and around three ragas are included in the syllabus of a semester of around three months. How come it possible to train the students sing three ragas in a semester of merely three months. Many a times it is also seen that some students are good at theory while weak in practical, so there should be a defining line between theory and practical. There should be clear line for the music directors, music teachers, music analysts, musicologists and performers. It is nowadays in practice at BHU and Indra Kala Vishvavidyala that these provide the subject of musicology. Folk music of the specific area should also be included. Multi-disciplinary approach is a very effective initiative in this direction. The curriculum should incorporate such topics which require association with other disciplines to fulfill the need of the hour. Financial support from government and non-governmental bodies is highly solicited. Talented students should be provided stage along with financial support to go ahead and become good performers. In the field of research, lacs of students have contributed to the theory of music. In universities, there must be a recording studio and an experimental lab for sound related demonstrations. To understand acoustics which is generally a part of the curriculum of MA in Music, an experimental lab is highly desired along with a physicist so that the students can understand well the issues related to sound and music, the oscillation, the vibration etc. (Shirikhanday S.G. 1993: 255). To keep the art of music a preferred subject in an educational institution, the professors in music must take care of the teaching learning of music in a very visionary manner so that maximum number of students can avail the benefit of music as a subject. The syllabus of music must be updated regularly to keep it in tune with changing trends. They should be generous in terms of their teaching to less talented students. All students should be encouraged equally. The external examiners should also have encouraged attitude towards the students to keep the art alive.