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TRAINING IN INDIAN CLASSICAL MUSIC “ RIYAZ”. Dr. Rajiv C. Sharangpani MS(General Surgery) Diplom Sports Medicine (Germany). SCIENCE AND RELIGION. Science tries to reach the truth through tangible means. Religion tries to reach truth through intangible means.

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training in indian classical music riyaz

TRAINING IN INDIAN CLASSICAL MUSIC“RIYAZ”

Dr. Rajiv C. Sharangpani

MS(General Surgery)

Diplom Sports Medicine (Germany)

science and religion
SCIENCE AND RELIGION
  • Science tries to reach the truth through tangible means.
  • Religion tries to reach truth through intangible means.
  • Music combines both; therefore those inclined towards science cannot appreciate the spirituality of music and those inclined towards religion cannot appreciate the dry objectivity of science.
balance
BALANCE
  • Both are essential and complimentary to each other; the tangible and the intangible
awareness
AWARENESS
  • Awareness is continuous, simultaneous, nonjudgmental and total perception of internal and external environment.
right action
RIGHT ACTION
  • Effortless Effort is the right action.
  • Happens out of Awareness.
  • Total awareness leads to absolutely right action.
what is training
WHAT IS TRAINING?
  • Repeated skillful movements with full awareness.
  • It is a stimulus which brings about desirable changes in neuronal circuits and musculoskeletal apparatus during rest.
  • There is no end or limit to training; i.e. Riyaz……………………………………BUT
slide7

HOLISTIC RIYAZ

BODY

BREATHING

MIND

MASTER

ATTITUDE

SPIRIT

three steps
THREE STEPS
  • Health
  • Fitness
  • Performance
health
HEALTH
  • Health is the ability to enjoy every moment of life without any cause.
fitness
FITNESS

Fitness is the enhancement of

all motor functions and mental capacities.

performance
PERFORMANCE
  • Performance is the ability of total integration of mind and body functions leading to a spirited spontaneity in any given task.
principles of riyaz
PRINCIPLES OF RIYAZ
  • Individualization
  • Economization
  • Specificity
  • Optimization
  • Recovery
  • Doing and Happening
  • Not doing
  • Passive observation
individualiztion
INDIVIDUALIZTION
  • Every individual is different. Her requirements are different. Adaptability to training loads is different.
economization
ECONOMIZATION
  • More is not better in Riyaz
  • Learning skill needs a pattern of repetitions but this pattern should be as near to exactitude as possible. Not one minute more of Riyaz.
specificity
SPECIFICITY
  • This is the most ill understood part of Riyaz.
  • Muscles respond to loads in different fashion because the muscle fibers which respond to training load are different.
  • A marathon runner and a sprinter, both run but both use different type of muscle fibers.
  • Thus a singer who trains his lower octaves uses different muscles than when he trains his upper octaves.
optimization
OPTIMIZATION
  • Any movement if it is to be done more and more skillfully needs mental as well as physical repetitions.
  • This balance has to be correctly reached.
  • Excessive mental or physical repetitions do not help in actual performance but lead to injury or fatigue or both.
recovery
RECOVERY
  • After any activity there is a time lag in which the human body recovers its spent resources as well as restructures its neuronal circuits & musculoskeletal apparatus.
  • Training should not be instituted in this phase.
  • In fact body changes for the better during two training sessions if properly placed.
  • Riyaz is just a stimulus.
doing and happening
DOING AND HAPPENING
  • When one understands the task of producing a skillful sound mentally ,one starts doing efforts to produce it at will.
  • Suddenly one finds that for no particular reason the skillful movement happens.
  • It is however not possible to physically reproduce this happening immediately.
  • Here is the importance of mental repetition, because although physical reproduction is not possible mental reproduction is possible for few seconds.
doing and happening 2
DOING AND HAPPENING 2
  • Gradually this happening comes into the domain of doing.
  • The artist is now in search of further happenings.
  • Thus at whatever stage of his or her career an artist continues to have these happenings. If she accumulates them and brings them into doing she becomes great if she fails to do that she remains mediocre.
not doing
NOT DOING
  • It is important to give complete break to Riyaz once in a way. Surprisingly one starts performing better after the break.
passive observation
PASSIVE OBSERVATION
  • Listening to others and observing their performance is essential to inculcate new ideas in one’s own repertoire.
analysis and synthesis
ANALYSIS AND SYNTHESIS
  • Paradoxically Riyaz is all about repeated analysis.
  • This analysis should lead to various forms of synthesis. Like building a house and dismantling it. Using the same bricks and building a new house till one is satisfied in all aspects.
  • Performance is all about presenting a spontaneous synthesis.
sponteinity
SPONTEINITY
  • Paradoxically spontaneity is to be trained.
  • It is controlled abandon.
  • The tools have to be polished and sharp; their use has to be with controlled abandon.
what are we training
WHAT ARE WE TRAINING?
  • Body: Strength,Speed,Flexibility,Skill and endurance
  • Breathing
  • Mind: Concentration, contemplation,Koan
  • Attitude:
  • Spirit: Meditation
exercises
Physical.

Breathing

Mental

Attitudinal

Spiritual

Doing

Happening

Exercises
physical training
PHYSICAL TRAINING
  • Static strength endurance training for good posture.
  • General strength training for good health especially for females.
  • Balanced training for instrument players to offset disadvantage of excessive use of one muscle group.
breathing
BREATHING
  • Abdominal breathing leading to minimum internal dialogue leading to increased spontaneity.
mental training
MENTAL TRAINING
  • Concentration to physically appreciate the place of the note.
  • Contemplation to comprehend the intangible in Music.
  • Koan to just stop the mind.
eternal truths for correct attitude
ETERNAL TRUTHS FOR CORRECT ATTITUDE
  • Everything changes or change is permanent.
  • Time to make decisions not for regrets
  • This moment is the culmination of the life lived so far.
  • It is always Here and Now.
  • Work is its own reward
spiritual training
SPIRITUAL TRAINING
  • Who am I?
  • What is happening around me?
  • In short “Awareness”.
  • It is 24 hours a day.
  • Awareness before, during and after the Riyaz.
components of riyaz
COMPONENTS OF RIYAZ
  • Time: Biorhythms, time and duration of performance.
  • Space
  • Posture:
  • Breathing
  • Duration
  • Dreaming
components of vocal riyaz
COMPONENTS OF VOCAL RIYAZ
  • All notes in natural octaves
  • All notes in a, aa, e, ee, u, ae,o and with mouth closed.
  • All notes in all volumes
  • Ability to move and stop at will
  • Ability to express permutations and combinations of all notes.
  • Good pronunciation
  • Training the “a” component and “h” component
physiological considerations
PHYSIOLOGICAL CONSIDERATIONS
  • All individuals have different “Sa”
  • Even the same individual has slightly different “Sa” every day.
  • Lowest note on that day should be taken as “Pa” and the rest of the notes should be adjusted accordingly.
  • This leads to effortless singing.
  • Training false voice is strenuous.
damage to physical health
Damage to Physical Health
  • Hypokinesia
  • Bad Posture
  • Addictions
  • Wrong breathing
damage to mental health
Damage to Mental health

S

T

R

E

S

S

  • Desire
  • Anger
  • Conceit
  • Temptation
  • Avarice
  • Jealousy
  • Fear
damage to spiritual health
DAMAGE TO SPIRITUAL HEALTH
  • Unawareness
  • Inability to search “Who am I?”
preparation before performance
PREPARATION BEFORE PERFORMANCE:
  • Starts on the day programme is fixed.
  • Managing internal and external environment.
  • Internal: Nature of presentation
  • External: Accompanying artist, Stage, Hall, Cultural background of the place.
day of performance
DAY OF PERFORMANCE
  • Correct breathing
  • Correct eating
  • Inspecting the stage, mike, volume adjustment etc.
  • No discussions, especially no laughing.
  • Getting into zone.
qualities of a teacher
QUALITIES OF A TEACHER
  • Always a student.
  • Without ulterior motives
  • Minimum attachment
  • Knowing the two aspects of training : skill and general training of Individual
  • Able to adjust and adapt his training according to individual needs.
  • Egoless.
qualities of a student
QUALITIES OF A STUDENT
  • Ability to completely trust and totally doubt a teacher at the same time.
  • Aware of her own shortcomings and strong points.
  • Egoless
learning
LEARNING
  • Making new neuromuscular connections and musculoskeletal adjustments.
  • Younger the age quick is the learning process as there are no established patterns of movement.
  • Unlearning is extremely difficult as the set patterns refuse to break.
  • Simple to complex but not necessarily.
  • One can learn from almost everything around us
teaching
TEACHING
  • Nobody can teach.
  • Everybody can learn.
  • Teacher just produces a conducive environment for learning.
unlearning
UNLEARNING
  • Established neuromuscular connections are difficult to break.
  • It needs great awareness to unlearn.
  • In a sense, unlearning can be a great training in Awareness.
violin players adjustments
VIOLIN PLAYERS ADJUSTMENTS
  • Sit higher. Press violin between chest and stand.
  • Lumbar lordosis. Right hand pronated with pressure on second phalanx of index finger. Left hand supinated,palmar flexion and ulnar deviation without holding the violin tight. Left hand correct position and light pressure, right hand variable pressure.
  • General adjustments of shoulder, knee etc.
mistakes of a teacher
Mistakes of a Teacher
  • Pretending to know something when ignorant about it.
  • Egoistic.
  • Ceases to be a student
  • Unaware
  • Attached to his art and students
  • Rigid in his outlook
  • Excessively methodical.
  • Suppressing spontaneity of his students
  • Excessive and continuous criticism or out of place praise
mistakes of a student
Mistakes of a student
  • Inability to doubt and trust a teacher at the same time.
  • Gullible
  • Prone to excessive effort or little effort
  • Ulterior motives
  • Gets disheartened quickly
  • Compares his or her progress with others
causes of mediocrity
CAUSES OF MEDIOCRITY
  • Wrong person in wrong discipline
  • Wrong training as far as intensity and extent is concerned
  • Lack or suppression of spontaneity during training
  • False ideas regarding individual talent
  • Affected by six enemies and fear
causes of poor performance
CAUSES OF POOR PERFORMANCE
  • Poor or no preparation.
  • Poor appreciation of space and time
  • Poor choice of presentation
  • Technically incorrect presentation
  • Technically correct but non-spontaneous presentation.
  • All attention to result and not process.
  • Analyzing the performance instead of synthesizing it.
state of performance
STATE OF PERFORMANCE
  • Excellent posture, peripheral vision
  • Still mind with no “internal dialogue” and an effortlessly moving body.
  • Pleasure in body, joy in mind leading to a blissful experience to all concerned.
  • Allowing the spirit to perform with no hindrance from either mind or the body.
performance1
PERFORMANCE
  • Today's performance is audiovisual.
  • Performer must have a pleasant expression.
  • He or she must dress extremely well
  • Performer must observe time schedule assiduously.
  • Mike is there during performance usually not there during riyaz.
qualities of good performance
QUALITIES OF GOOD PERFORMANCE
  • Technically correct
  • Spontaneous happening
  • Correct selection vis a vis the audience
  • Correct duration of each presentation
  • Controlled abandon
effects of wrong riyaz
EFFECTS OF WRONG RIYAZ
  • Pain in various body parts especially backache, neck pains and knee pains and specific pains like wrist pains for tabla players.
  • Increased blood pressure found in vocalists who are doing wrong breathing,
  • Menstrual disorders in female singers due to wrong breathing.
  • Sleep disorders.
  • Anxiety and mood disorders
  • Disinterest, fatigue, irritability
  • Loss of spontaneity in performance. Performance is technically correct but their is no fun or joy. This is the most serious effect of a wrongly done riyaz.
slide59

All our endeavours are in the known.

We do riyaz to bring something of the unknown in our repertoire but

very few even venture to comprehend the unknowable.

We can perceive the world through our five senses.

There is lot more to this world beyond these five senses and

this is the unknowable.

A master gets in this realm through his riyaz.