Dr Chintamani Rath's lecture / informance / workshop modules:-
- Module I - The Nature of the Raga
- Module II - Introduction to the Inner Workings of Hindustani Music: Informance
- Module III - Introduction to the Inner Workings of Hindustani Music: Workshop
- Module IV - Introduction to the Inner Workings of Hindustani Music: Studio Class
Module I - The Nature of the Raga:-
| Presentation genre
| Informance / Demonstration
|
| Description / Objective
| Appreciating of the core of Indian art music through an understanding of the concept of the Raga – its historical background and its present day elements
|
| Designed for
| All interested in the inner workings of Indian art music: the lecture does not presuppose any previous expertise or knowledge
|
| Module format
| Illustrated lecture of 4 hours:
- Session I (Historical Background) – 2 hours
– Coffee break –
- Session II (Raga Elements) – 2 hours
|
| Pre-course reading
| “Introduction to Indian Art Music” by Dr Chintamani Rath, in this website (under “Music”), together with hyperlinks within the article.
(Estimated time required: 4 hours)
|
| Resources needed
|
- A suitable venue such as a lecture theatre, studio or auditorium
(with arrangements for tea/coffee/water)
- Data show for projecting a PowerPoint presentation
- Music system to play recorded illustrations (audio CD)
- Photocopying facility and paper (to produce handouts for participants)
|
| Costs
| Yes, there is a fee involved.
Would you as a professional provide your products for free? Surely not! So, please do not expect us to do so! We charge costs like reasonable travel and conveyance, board and lodging, equipment costs, accompanying artistes' expenses and a little something for our own inputs, the results of decades of rigorous pedagogic discipline, acquired at no mean effort and expense and proven to satisfy completely.
Please contact Dr Chintamani Rath for discussing costs. Thank you!
|
|
Module II - The Inner Workings of Hindustani Music - Informance:-
| Presentation genre
| Informance / Demonstration
|
| Description / Objective
| Approaching Indian art music with western instruments
|
| Designed for
| Students and others interested in composition, ethno music or expanding their repertoire in their chosen instrument and all interested in Indian art music
|
| Module format
| Informance/Demonstration – 2 hours:
1. Objectives:
- To introduce participants to the formalised world of practical musicianship in the classical Indian context
- To point participants towards a new canvas for creating original musical ideas
- To provide a starting point to participants in a journey of appreciation or further study of a robust, challenging, entertaining, living and respected musical culture with an unbroken tradition of two millennia and more
2. Concepts covered:
- Notes in Indian art music – names (Sargam), pitch considerations (Shrüti) and articulation
- Two basic ornaments – Meend and Gamak
- The Raga as the melodic base of Indian art music, Raga attributes (Lakshana)
- The rhythmic dimension – Tempo (Laya) and cyclic rhythm (Tala): Four basic Tala – Teentala, Ektala, Jhaptala and Roopaktala
- The presentation (instrumental music) – Alap, Vistar, Gat, Tan, Tihai, and Jhala
- Vocal music presentation – the Khayal
3. Skills:
- Practice in executing Meend and Gamak
- Practice in note, phrase and passage progressions in the Raga Kedar
- Practice in one Vilambit Teental Gat and one Drüt Teental Gat in the Raga Kedar
- Practice in one Tan, one Tihai and Jhala in the Raga Kedar
4. Teaching strategies:
- Lecture using PowerPoint presentation, with musical illustrations (live and recorded)
- Supervised practice through traditional Indian pedagogy (Sadhana or Riyaz)
- Handout of the PowerPoint presentation used, with additional notes and references
|
| Pre-course reading
| “Introduction to Indian Art Music” by Dr Chintamani Rath, in this website (under “Music”), together with hyperlinks within the article.
(Estimated time required: 4 hours)
|
| Resources needed
|
- A suitable venue such as a lecture theatre, studio or auditorium
(with arrangements for tea/coffee/water)
- Data show for projecting a PowerPoint presentation
- Music system to play recorded illustrations (audio CD)
- Photocopying facility and paper (to produce handouts for participants)
|
| Costs
| Yes, there is a fee involved.
Would you as a professional provide your products for free? Surely not! So, please do not expect us to do so! We charge costs like reasonable travel and conveyance, board and lodging, equipment costs, accompanying artistes' expenses and a little something for our own inputs, the results of decades of rigorous pedagogic discipline, acquired at no mean effort and expense and proven to satisfy completely.
Please contact Dr Chintamani Rath for discussing costs. Thank you!
|
|
Module III - The Inner Workings of Hindustani Music - Workshop:-
| Presentation genre
| Workshop
(Covering all areas of the informance at a greater depth as well as additional areas)
|
| Description / Objective
| Approaching Indian art music with western instruments
|
| Designed for
| Students and others interested in composition, ethno music or expanding their repertoire in their chosen instrument and all interested in Indian art music
|
| Module format
| Workshop – 2 days of 7 hours each:
1. Objectives:
- To introduce participants to the formalised world of practical musicianship in the classical Indian context
- To enable participants the experience of playing areas of Indian art music in their chosen instruments
- To point participants towards a new canvas for creating original musical ideas
- To provide a starting point to participants in a journey of appreciation or further study of a robust, challenging, entertaining, living and respected musical culture with an unbroken tradition of two millennia and more
2. Concepts covered:
- Notes in Indian art music – names (Sargam), pitch considerations (Shrüti) and articulation
- Two basic ornaments – Meend and Gamak
- The Raga as the melodic base of Indian art music, Raga attributes (Lakshana)
- The rhythmic dimension – Tempo (Laya) and cyclic rhythm (Tala): Four basic Tala – Teentala, Ektala, Jhaptala and Roopaktala
- The presentation (instrumental music) – Alap, Vistar, Gat, Tan, Tihai, and Jhala. Also an introduction to the Dhün
- Vocal music presentation – the Khayal, Tarana, Thumri, Bhajan
- Historical sketch of Indian art music, including its schools/styles (Sampradaya/Gharana)
- The different musical genres in vogue in present day India and the place of Hindustani music
3. Skills:
- Practice in executing Meend and Gamak
- Practice in note, phrase and passage progressions in two contrasting Raga - Kedar and Todi
- Practice in one Vilambit Teental Gat and one Drüt Teental Gat in Raga Kedar and Todi
- Practice in one Tan, one Tihai and Jhala in Raga Kedar and Todi
4. Teaching strategies:
- Lecture using PowerPoint presentation, with musical illustrations (live and recorded)
- Supervised practice through traditional Indian pedagogy (Sadhana or Riyaz)
- Handout of the PowerPoint presentation used, with additional notes and references
|
| Pre-course reading
| “Introduction to Indian Art Music” by Dr Chintamani Rath, in this website (under “Music”), together with hyperlinks within the article.
(Estimated time required: 4 hours)
|
| Resources needed
|
- A suitable venue such as a lecture theatre, studio or auditorium
(with arrangements for tea/coffee/water)
- Data show for projecting a PowerPoint presentation
- Music system to play recorded illustrations (audio CD)
- Photocopying facility and paper (to produce handouts for participants)
|
| Costs
| Yes, there is a fee involved.
Would you as a professional provide your products for free? Surely not! So, please do not expect us to do so! We charge costs like reasonable travel and conveyance, board and lodging, equipment costs, accompanying artistes' expenses and a little something for our own inputs, the results of decades of rigorous pedagogic discipline, acquired at no mean effort and expense and proven to satisfy completely.
Please contact Dr Chintamani Rath for discussing costs. Thank you!
|
|
Module IV - The Inner Workings of Hindustani Music - Studio Class:-
| Presentation genre
| Studio Class
(Covering all areas of the informance at a greater depth as well as additional areas)
|
| Description / Objective
| Approaching Indian art music with western instruments
|
| Designed for
| Students and others interested in composition, ethno music or expanding their repertoire in their chosen instrument and all interested in Indian art music
|
| Module format
| Studio class – 4 hours:
1. Objectives:
- To introduce participants to the formalised world of practical musicianship in the classical Indian context, through the medium of a composition, for their chosen instrument or a combination of instruments, written using elements from Hindustani music but within a western context and for western instruments
- To point participants towards a new canvas for creating original musical ideas
- To provide a starting point to participants in a journey of appreciation or further study of a robust, challenging, entertaining, living and respected musical culture with an unbroken tradition of two millennia and more
- To achieve the above through enabling participants to master and include the composition in their performance repertoire
- To showcase the result of the session by a performance of the composition
2. Concepts covered:
- Notes in Indian art music – names (Sargam), pitch considerations (Shrüti) and articulation
- Two basic ornaments – Meend and Gamak
- The Raga as the melodic base of Indian art music, Raga attributes (Lakshana)
- The rhythmic dimension – Tempo (Laya) and cyclic rhythm (Tala): Four basic Tala – Teentala, Ektala, Jhaptala and Roopaktala
- The presentation (instrumental music) – Alap, Vistar, Gat, Tan, Tihai, and Jhala
- The manner in which these concepts are incorporated in the composition at hand and their best expression in the course of its performance in terms of adherence to the HIndüstani tradition
3. Skills:
- Practice in executing Meend and Gamak in the Raga used in the composition
- Practice in note, phrase and passage progressions in the Raga used in the composition
- Practice in one Vilambit Teental Gat and one Drüt Teental Gat in the Raga used in the composition
- Practice in Tan, Tihai and Jhala in the Raga used in the composition
4. Teaching strategies:
- (Participants would have already practised a composition pre-sent to them)
- Lecture using PowerPoint presentation, with musical illustrations (live and recorded)
- Supervised practice through traditional Indian pedagogy (Sadhana or Riyaz)
- Handout of the PowerPoint presentation used, with additional notes and references
- Practical incorporation of the elements of HIndüstani music in the composition
|
| Pre-course reading
| “Introduction to Indian Art Music” by Dr Chintamani Rath, in this website (under “Music”), together with hyperlinks within the article.
(Estimated time required: 4 hours)
|
| Resources needed
|
- A suitable venue such as a lecture theatre, studio or auditorium
(with arrangements for tea/coffee/water)
- Data show for projecting a PowerPoint presentation
- Music system to play recorded illustrations (audio CD)
- Photocopying facility and paper (to produce handouts for participants)
|
| Costs
| Yes, there is a fee involved.
Would you as a professional provide your products for free? Surely not! So, please do not expect us to do so! We charge costs like reasonable travel and conveyance, board and lodging, equipment costs, accompanying artistes' expenses and a little something for our own inputs, the results of decades of rigorous pedagogic discipline, acquired at no mean effort and expense and proven to satisfy completely.
Please contact Dr Chintamani Rath for discussing costs. Thank you!
|
|
Jagannatha Svami Nayanapathagami Bhavatu Me