Voice culture and singing

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Voice Culture and Singing by Friedrich Brueckner-Rueggeberg

Peter Calatin (left) and Friedrich Brueckner-Rueggeberg (centre) with students at
Kalakshetra in 1983 © Ludwig Pesch

This course material was originally produced for – and used by – teachers and students at Kalakshetra College of Fine Arts, today known as Rukmini Devi College Of Fine Arts.

Meaningless and uncontrolled singing and exercising are rather harmful since the long-term memory of the brain needs to be supplied with correct impulses which requires immediate recognition of functional disorders and their correction.

Herein lies the great and far-reaching responsibility of the teacher whose full care and control is demanded in order to allow the singer to acquire an automatic and playful sense for the correct usage of his voice. In this manner, he is relieved sufficiently to devote himself fully to content and presentation of his music (described as Bhava in India). […]

Many victims of either wrong techniques of singing or careless teachers keep wandering from teacher to teacher in pursuit of their shattered hopes. This fact lends weight to the concept of voice control from the very beginning before defects can encroach that are so hard to correct later on, if at all.

Quote from page 15 in the printversion | Learn more >>

Context

A two week long voice culture course was offered at the request of its Founder-Director, Rukmini Devi (1904-1986) when introduced to the renowned singer and voice trainer, Friedrich Brueckner-Rueggeberg in 1982.

This project was conceived on the basis of earlier experiences, namely that Indian singers would benefit from time-proven as well as modern methods such as described here, mainly in order to prevent injury caused by mechanical practice (e.g. a lack of awareness that a pupil’s vocal range, breathing and posture should be taken into account).

The method described here is oriented towards “intercultural learning” which explains why it has since been adopted by several voice coaches from all over India, be it for “classical” singing or otherwise.

It has also been adapted for a major chapter on vocal music in The Oxford Illustrated Companion To South Indian Classical Music by Ludwig Pesch (Oxford University Press, in print since 1999, 2nd rev. ed. 2009).

Credits

The Chennai branch of the Goethe Institut (German cultural institute, better known as Max Mueller Bhavan) sponsored Friedrich Brueckner-Rueggeberg and his senior disciple Peter Calatin to conduct the voice training course hosted by Kalakshetra in 1983 for which the present contents was created.

First published by K. Sankara Menon and edited by Shakuntala Ramani in Kalakshetra Quarterly Vol. V, No. 3 (Chennai, 1983).

Co-author, translator and researcher (adaptation to the Indian context including illustration and photography): Ludwig Pesch – the author’s former student at Freiburg Musikhochschule (Germany) – then a student of Kalakshetra College.

Illustration (graphics): A. Mai

Video | Raga Alapana on the Veena – The Music Academy Madras

Date: 30th Dec 2022, 8.00 am
By Vidushi Jayanthi Kumaresh

How does a vainika internalize a raga before he or she presents it?

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Beyond performing competence: Students set to become good teachers and informed citizens as well

By S. Sankaranarayanan in Sruti (1998) | Excerpts that remain relevant today:

Observations on the teaching of music at the Rotterdam Conservatory, Holland:

Along with theory and history of music, the students [at the Rotterdam Conservatory] also acquire knowledge of ancillary aspects such as voice modulation and the reading and writing of notation. However, weightage is given to performing competence. […] As a means of widening their musical horizons, the students are encouraged to have exposure to other systems of music as well. […] Training in teaching methods is also imparted to the students so that they can become good teachers.

Along with music, the students are given a wide ranging and comprehensive liberal education so that, at the end of the course, they become not only competent musicians and/or teachers but informed citizens as well.

Dr. Suvarnalata Rao, Research Scientist at the National Centre for the Performing Arts (Mumbai)

Role of Research in Music Education

The lakshya sampradaya of music which is passed from guru to sishya gets altered when music is performed in a recital. This happens because of the elements of ‘entertainment’, such as indulgence in virtuosity or novelty for its own sake, and playing to the gallery. Because many performers also happen to be teachers, such changes, subtle and not so subtle, that creep into the recitals also influence the teaching , including the course content of contemporary music education. Only a researcher can observe and point out such deviation s to the artists, as no performer can be his own critic unless he has a bent for research which is rather rare. It is for the practitioners either to accept or not to accept the researcher’s findings. However, to be effective, a researcher (and for that matter, a musicologist or critic too) should be be able to perform, though not necessarily as a concert performer; otherwise his opinion would carry little weight.

[Commentary by S. Sankaranarayanan: It should, however, be remembered that, firstly, theory is not an unalterable entity and, secondly, theory itself is a codification of practices, though quite often it is one generation behind the latter. Fortunately, music has an admirable tradition of accomodating change].

Dr. N. Ramanathan, [former] Head of the Department of Indian Music at the University of Madras

Read the full report: https://sruti.com/articles/spotlight/teaching-of-indian-music >>

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Tyagaraja (1767-1847) – Sruti Magazine

Tyagaraja Aradhana Festival
at Kalakshetra
Photo © Ludwig Pesch

The period 1750-1850 was a golden era in world music, when some of the greatest musician-composers lived and enriched the field. In Europe, Beethoven, Mozart, Mendelssohn, Schumann and others lived during this period and created the symphony repertoire. It is a significant coincidence that the Carnatic Music trinity—Tyagaraja (1767-1847), Muthuswami Dikshitar (1776-1835) and Syama Sastry (1762-1827)—lived in a single area in Tanjore District during the same period.
As a tribute to Tyagaraja as we celebrate his 250th birth anniversary, we explore Tyagaraja’s compositions, his contribution to Carnatic music, his lyrics from the point of view of literature, prosody and poetics, his creation and craftsmanship of ragas and his devotion to Rama.

Source: “Tyagaraja 250: His art and craft: Cover Story by Pappu Venugopala Rao (Sruti Magazine, Issue 393)
URL: https://www.sruti.com/index.php?route=product/product&path=6&product_id=465
Date Visited: 6 December 2021

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Video | Vocal recital by Dr. K. Gayatri – Naada Inbam Festival

Dr. K.Gayatri – Vocal,
Vid. Vittal Rangan – Violin,
Vid. R.Shankaranarayanan – Mridangam,
Vid. H.Prasanna – Ghatam.
Recording of Live Concert on 22.12.2022 Thursday 6.15pm

Items in YouTube Comments by courtesy Swami Nathan >>
(please check the above link for any updates)

1. ​Reethigowlai (after sloka) 00:02:30
2. Jaganmohini dayApayOnidhE mAm pAhi.. Composer: Mishu Krishna Aiyyar 00:10:11
3. Madhyamavathi ​naadupai balikeru thyagaraja 00:17:20
4. Kedaragowla alapana 00:31:02 antha raama soundaryam Arunachala kavi 00:45:55
5. Veeravasanta vIra vasanta tyAgarAja mAm tArayAshu karuNA nidhE jaya (MSD) 00:54:50
6. Garudadhwani raga – Garuda Garuda ? -by her guru Smt. Suguna Purushottaman 00:58:30
7. Kalayani alapana 1:02:00 ​talli ninnu neranammi (Shyama Sastri) 1:18:30 Thani 1:38:03
8. virutham Petra thay thani maga marandhalm (raga malika) 1:55:12 Nadanamakriya ArAr Ashaip-paDAr nin pAdattukku … Shri Muthu Thandavar… 2:00:35
9. Mand thillana Lalgudi Jayaraman (see reply for lyrics) 2:03:45
10. Bhavamana 2:08:10

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