The Teacher and the Taught

At the outset, I would like to refer to the basic objective or the theme of the Seminar. The heading of the concept note circulated to the participants, defines it as “the problems and methodology of collecting data from traditional musicians”. Later the note refers to the work required to be done, for the analysis of musical activity related to the process of teaching and learning, as well as performing and listening.  Still later, the note refers to the lack of interaction between the two sets of Lakshana, as formulated in thee written traditions and the oral traditions, which are mutually complementary, and which need to be revived.  In conclusion, the note recommends that there should be a co-relation between theory and practice.

Hence, I have taken the liberty of designating my paper as “The teacher and the taught”. The concept covers “the teacher” or Guru or Ustad in relation to the process of teaching. The term “taught” would cover the process of learning, resulting into becoming a good performer or a good listener. Hence I will attempt to refer to the “teacher” and the “taught” separately, by prefacing my conclusions, with an analysis of different dimensions of this concept .

Having gone through the questionnaire attached to the concept paper, I assume that an attempt would be made to evolve a modified system of teaching and learning, through several elaborate procedures. It is recommended in the concept paper, that through the processes of collecting data from traditional musicians, by identifying and sharpening our tools for the analysis of Lakshya or practice, and organising Seminars followed by Workshops , to discuss and deliberate on the findings, a scheme would be evolved to effectively relate theory to practice. One cannot have any quarrel with the concept. I would however, like to dwell upon the question of effectively implementing requisites of such a scheme and create a methodology, both for the Guru and the Shishya.

It would be easily agreed that one can’t attempt to standardise methods of talims. I do not believe that this has been thought expedient in the past nor can it be found useful in the context of modern environment. I beg to be excused, if I do not refer in my paper, to the procedures which would be required to be followed to arrive at conclusions, in terms of relating theory to practice. I would prefer to dwell upon the methodology of ‘talim’ which would result into “vidya based” performance

rather than “virtuosity based” performance -which would result into creation of an audience, which is initiated to appreciate deeper values of music, rather than being swayed by technical perfection and mass appeal gimmicks.

In the last analysis, in my opinion, it would be useful to evolve some basic tenets, through the procedures referred to earlier and leave it to the Guru or the Ustad to use them with discretion, depending upon the capability, aptitudes, age group, etc. of the taught. These tenets have necessarily to synthesize two sets of Lakshana as formulated in the written and oral traditions.

However, before we enumerate these tenets, a basic concept regarding the theory of music needs to be clarified. We should differentiate between “musicology” and musicometry”.  My opinions are ofcourse, not based on scholastic studies but as a thinker-per forming musician and a teacher, Hence, if these opinions do not conform to highly analytical and scientific studies, I may be excused. I think that musicology refers to the theory, disciplines and actual performance values. On the other hand, musicometry, I think, refers to mathematical evaluations of the ingredients of the scale, various possible permutations and combinations of the musical notes, i.e. purely from mathematical and geometrical viewpoint. I recollect my discussions with Prof Ansther Lobo, many years ago. Prof. Lobo in his lifetime, produced some very thought provoking work on the musical scale. I heard his lectures on two occasions and frankly could not follow or understand the theory. Hence at my request, Prof Lobo prepared an easier version and invited me to his home to explain the concept. I must confess , I could not quite understand even the easier version . Hence I asked Prof. Lobo as to, how an understanding of his concept would help a performing musician. He smiled and replied that it will be of no use at all. I also recollect another incident when I asked the respected late Radika Mohan Moitra, the great Sarod player, regarding “Murchanas”. He replied that “Arvindbhai, do not go too deep into these Murchanas and sruti-s or you will forget your sitar playing”.  I am referring to these incidents not with a view to deride theoretical or academic values. It is essential that a judicial balance is maintained between the theoretical and  practical aspects, if you want to develop students to become good teachers and / or excellent performers.

So this is the canvas against which the tenets which I shall now elaborate, should be evaluated. One way of judging any musical performance would be to assess the values of thee “matter” and the “manner” of the performance. In fact, we are talking about the ‘what” and the “how’ of the performance.   In other words, we are talking about the “Babat” and the ‘Tarika’ of the performance.  We can still go on and say that we are talking of the ‘content ‘ and the ‘expression‘.  Hence, it is in this area that the ‘vidya based’ performance can be compared with the ‘virtuosity based’ performance. The quality of the ‘matter’ would depend on the ‘vidya’ or the

‘taleem” that the performer has received and the ‘manner ” would denote the excellence of execution or technical virtuosity. The concept paper regrets that, more often than not, the contemporary musicians, more so in reality, the younger sets, are much too much involved with the manner part of their performance than the matter part. One of the tenets therefore should be to specify that a musical balance between the matter and manner should be the goal of any performing musician. It is to be remembered that at a particular level, the matter and the manner become inter-dependent and so often we find that the matter regulates the manner and vice versa. Frankly this balance has been disturbed because many performers have not had the privilege of receiving a good and in-depth “taleem” or training.  The technical perfections without a base of a sound taleem or training can

take a performer to a good level of popular acknowledgement, but then the musician would find himself fairly stagnant at that level of popularity, and all this because he has not had the opportunity of sound taleem from a great Ustad or Guru. 

Another tenet refers to the physical and mental applications, both in the sphere of teaching and performing.  Several sample questions raised in the attachment to the concept paper, referring to exercises for training the voices or preparing hands, choice of pitch for particular students, the order or system in the deliveration of the raga, the place of ‘sargam’ in gayaki, gamak or embellishments and some questions on laya and tala, are all related to the physical attributes of taleem. Again it refers to the manner or execution; again it refers to the ‘how’ of the musical performance; again it refers to the technical aspect of the performance. The mental

application raises several related and inter-connected issues.  We have already mentioned earlier that the quality of the ‘matter’ of the performance is directly dependent on the ‘vidya’ or the ‘taleem’.  Various sample questions such as approach towards a raga, the role of ‘Nibaddha’ and ‘Anibaddha” elements of a raga, the relative importance attached to the purity of raga in alap and tan, etc., are all related to the mental application of a musician, in his actual performance.

Therefore this tenet implies that in addition to the physical practice, there is a need for the musician to undertake mental practice. I remember Ustad Amir Khan’s invaluable words of wisdom that “Arvindbhai do practice, do play but do think also -“riyaz karo, bajao, lekin socho bhi”. This aspect of introspective thinking, will certainly support and assist the creative ability of the musician.  It has been aptly said that ‘chintan’ and ‘manan’ are essential to reach higher levels study in any human endeavour.  In case of a musician or a performer, it will also help him to assess his own limitations as contrasted with his strong points.  An objective introspection is always necessary in any human activity.

I am tempted at this stage, to refer to an area of actual ‘riyaz’ or practice with reference to the mental applications we have just referred to.  Often we hear Ustads talking in terms of the word ‘kalas’.  We often hear them saying “Unka gala – Unka hath bada kalas me aa gaya hein”.  What does this mean? It implies that in reality, the performer is executing ‘effortlessly’. The word ‘kalas” or perhaps ‘class’ implies an effortless execution. How does one achieve ‘such effortless execution?  One should learn the technique, master the technique and then forget the technique. But how does one do this? Effortlessness, I believe, involves execution through application of the subconscious mind . In other words , any effort ‘per se’, involves. direct and active involvement of the conscious mind , Hence, it would not be incorrect to say that a serious student of music should knowingly endeavour to

develop a system of practice involving his subconscious mind in the actual execution, while his conscious mind should  be applied to the overall raga form and its disciplined unfoldment.  In this way, the execution is taken over by the subconscious mind while the conscious mind guides the performance, based on the treasure of ‘vidya’ (knowledge) that he or she has achieved. Could we therefore surmise that what Ustads of the past achieved through physical practice of long hours and long years and which resulted into a gradual withdrawal of conscious mind from the actual execution, could be well achieved by a deliberate effort to bifurcate the conscious and the subconscious applications of the human mind, in the practice or ‘riyaz” and then in the actual performance?

These are some of the observations or recommendations that I could think of, with a view to co-relate theory and practice to interface written and oral system of taleem (training).  As consequence, one can safely conclude that completely ‘vidya “based performances or completely ‘virtuosity’ ‘based performances are undesirable or ill-advised. 

Without a judicial balance or a musical amalgamation of these two dimensions, one cannot become a truly great musician Through virtuosity based performance , we will always be able to elicit a ‘wah ‘ from the audience but it is through the

base of the ‘vidya’ coupled with excellent execution, that a performer can get ‘ah’ as well. 

So far we have dealt with the methodology of teaching and learning or of the concept of ‘taleem”. The seminar objective is also to deal with the listeners or ‘what could one do to create a class of initiated and receptive listeners? ” I am reminded

at this stage, of a valuable statement of Ustad Vilayat khan. He said “jab bajane baitho to Ustad banke -bajao, our jab sunane baitho, to shagird banke suno”.  In essence, this advice refers to the attitudes that one should adapt whilst performing or whilst listening. We will have therefore to differentiate between different types of performances and the resultant attitudes of the listeners .

There are basically three types of listeners in any audience. One section, which is unfortunately very small, are the musicians themselves. The second section comprises of the musically initiated listeners or the true ‘rasikas’ . And the third section is ofcourse the general listeners which again maybe subdivided into two parts. There are those who are generally interested in music. There is a second type in this section who come to performances just as a fashion; who treat the gathering

as a social event. It is impossible to eliminate the third category nor do we want to. They will always be there in large numbers, It is difficult to ensure that the musicians i.e the first category of listeners attend performances in increasing numbers, There are several reasons why these days, musicians do not attend performances of fellow musicians but we need not go into those aspects. We are therefore left with the second category of listeners i.e. the musically initiated listeners. Our attempt should be to ensure that the interested listeners of the third category are transferred or elevated to the second category . Our objective should be to have as large as possible section of the audiences comprising of the initiated listeners or true and keen ‘rasika-s’.

Even in this class of listeners, we will find attitudes differing according to performers . An audience listening to a ‘virtuosity’ based performance will necessarily have to have an alert mind and listen to music with so to say open eyes’.

Listeners on the other hand, would be bored with a highly academic and dry performance. A performance with a balanced matter and manner will elicit a relaxed and serene attitude of listening which would be interspersed with both ‘wah’ and “ah’. A performance devoid of purity of the rag, the development of the raga based on adequate discipline and more importantly, without an element of surprise, (with due respect) is no performance at all.

How to create a large class of initiated listeners requires urgent consideration. Many attempts in recent times have been made to organise music appreciation courses , arrange music seminars on basic subjects, organise music conferences

in distant and mofusil areas- These are all laudable and praiseworthy efforts. However we could certainly do with more activity in these areas. I am sure, many suggestions will come forth even in this seminar. However, to my mind, it is essential that we create the right kind of listener.  We create a listener with deeper values and we do not create a listener who is prone to music with cheap mass appeal, commercialised or gimmicky music. It is one thing to make music more popular and it is another thing to make the right kind of music popular. In this connection, the greatest responsibility lies with the performing musician himself or herself. If he or she is tempted to achieve a short-cut to success and uses the medium of music to supply, what the commonplace 11stener demands, it would be indeed unfortunate.  Our great musicians are today certainly aware of this responsibility and I do hope, that through the medium of such gatherings, a few who are not , would realise the seriousness of the problem, which would affect the future of our music, and adapt the true values that our glorious and ancient tradition has taught us.

To summarise, may I say that, in my paper, I have attempted to concentrate on the methodology of relating theory to practice rather than dealing with the methodology of collecting data from traditional musicians. I have referred to the concepts of taleem and practice, to the attitudes to be adopted by the performer, for a musically elevating performance, and desirability of creating a large class of keen and initiated listeners and the role that responsible and respected musicians” could and should play in this regard.