Mahatma Gandhi on “music of mind, of the senses and of the heart”

“There is music of mind, of the senses and of the heart” – Mahatma Gandhi >>
Photo © Ludwig Pesch

Very few people know that Gandhi was extremely fond of Music and arts. Most of us have been all along under the impression that he was against all arts such as music. In fact, he was a great lover of music, though his philosophy of music was different. In his own words ‘Music does not proceed from the throat alone. There is music of mind, of the senses and of the heart.’ […] 

According to Mahatma ‘In true music there is no place for communal differences and hostility.’ Music was a great example of national integration because only there we see Hindu and Muslim musicians sitting together and partaking in musical concerts. He often said, ‘We shall consider music in a narrow sense to mean the ability to sing and play an instrument well, but, in its wider sense, true music is created only when life is attuned to a single tune and a single time beat. Music is born only where the strings of the heart are not out of tune.’

Source: “Mahatma Gandhi – A unique musician” by Namrata Mishra (Sr. Asst. Prof of Vocal Music, R.C.A. Girls P. G. College, Mathura)
URL: https://www.mkgandhi.org/articles/mahatma-gandhi-unique-musician.html
Date Visited: 17 July 2022

Gandhi is a universal figure. […] He is affirmed and avowed in many parts of the world while Indians might of course forget him or scorn him or defile him as they are doing now.

Source: Historian Ramachandra Guha in conversation with sociologist Nandini Sundar, The Wire, 21 March 2022
URL: https://thewire.in/history/ramachandra-guha-history-gandhi-mentors
Date Visited: 22 July 2022

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Mahatma Gandhi used community voices to mobilise people:
Music of the mind and heart >>

“A historian points out the Mahatma saw morning prayers as a way to inspire discipline and that he used community voices to mobilise people. […] For Gandhi, music — whether it was a bhajan like Vaishnava Janato or a patriotic song like Vande Mataram — was a means of development of the “moral self” which was essential to become a satyagrahi.” – Basav Biradar reviewing ‘Singing Gandhi’s India: Music and Sonic Nationalism’ by Lakshmi Subramanian in The Hindu | Read How Gandhi adopted music on the way to freedom >>

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Audio |  Vidya Shankar on teaching Carnatic music to children

Vidya Shankar (1919-2010)
Photo © Ludwig Pesch
Listen to an interview with
Vidya Shankar on teaching Carnatic music to children
held at her Chennai home by Ludwig Pesch (24 February 2005)

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Raga, Tala and Pedagogy: On the First Steps in Carnatic Music

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Raga, Tala and Pedagogy: On the First Steps in Carnatic Music by Jeremy Woodruff

Jeremy Woodruff >>
Art © Arun V.C.

The system by which any music is taught is the key to what is preserved, and how, in a musical tradition. I chose to research the basics of instruction in South India,both as an entry point for some practical knowledge on the South Indian flute, and as away of examining basic tenets of karnatic music. Using advanced knowledge of a foreign music without having prior knowledge of its basic pedagogy is a bit like attempting to build a chair without a seat for one’s backside. Only by studying the basic assumptions of the music, may we identify what techniques are useful to us, or not, because only then we carefully consider for what they were originally intended. […]

All melodic instrumental training in karnatic music is focused on reproducing subtleties of vocal performance. As imitating singers was the main way that instrumentalists from the time of ‘the Trinity’ updated, preserved and greatly enriched what is now known as karnatic music, it is natural that it is considered the greatest means to accomplishment in instrumental training. Where schools mainly disagree is on how (and how far) these vocal subtleties should be imitated. […]

Gitas are the first pieces to be learned after the rigorous basic exercises outlined above. The Gita, ‘Sri Gananatha’ is the first of these Gitas to be learned by any student. Maybe it is the ‘Für Elise,’ or ‘Minuet in G’ by Bach of karnatic music. It is therefore a special case, but it can still serve well as a concrete demonstration of how gamakas of a single raga, on a single song can differ radically from teacher to teacher. The gita is given in fig 2.1 in Indian notation.

[Bold typeface added above for emphasis]

Read the full paper A Western composer’s view of early music education in Carnatic music on Academia.edu >>

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Music that heals our minds, our hearts and spirit, and our body, and connects

Why not play music together and connect again – the way families have shared music for thousands of years, and long before music became a commodity?

Listen to Spark’s Next Big Thing series, which explores how technology in various guises might affect humanity in the far future: How will we experience music in 2050? >>

Audio | What Makes Indian Music Unique – Kennedy Center Education

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Source: Music of India, An exploration of Indian music
URL: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/international/music-of-india/
Date visited: 2 August 2021

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