Acoustic optimization of Indian Classical Music Practice Room

 

Abstract: 

            Music practice classroom are essential constructed and well-built spaces needed in order to acclimate music students, belonging to a classical music sector from a specific mentor, in their teaching activity. The main motive of a proper music practice classroom is to establish a uniform sound communication between Guru and Kshishya (Teacher -Student communication while rendering music), Unfortunately, in most of the institution or in the academy where music is being taught, a problem is faced by the students in learning classical music because of inadequate practice room. The acoustic design of the rooms is not appropriate that’s why high reverberation and echo is generated while singing or practicing the music instruments.  Even in the most higher education institution in India where music is being taught as a major subject have similar kind of inadequate classroom not friendly in teaching – learning of music. Most of the classroom do not ensure the quality of sound, minimum optimal acoustic comfort while practicing the music which result the noisy or reverb sound that make the music unpleasant and discomfort while singing the raga. It is observed that music practice room in higher educational institution are expected to be too reverberant, not acoustic friendly and inappropriate in practicing the classical music. Actually, in Indian classical music, structure of the classroom should be proper and acoustic friendly that the sound of manual tanpura, vocal and the accompany instruments like Harmonium, Table and Sarangi, and Violin should blend in proper way and create vibrant sound that sooth the ear of mentee and mentor. The study presents an acoustic research made in the classroom of department of Performing Arts, Lovely Professional University.  The research was conducted with analyzing the various method of data collection, data evaluation and data interpretation. Acoustic measurement of the reverb time were developed according to the existing rules and scientific measurements techniques are used to calculated the actual time of reverberation, echo and inadequate sound that was heard while practicing the classical music. The obtained results were compared with the admissible limits provided by the current regulation. 

 

Keywords: Indian Classical Music, Acoustic, reverberation, Classroom, teaching, students  

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Why to learn Indian Classical Music ...

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History of Indian Music - Lecture Series-1

     The Lecture Series deals with the origin and development of Indian Classical Music.  12 min lecture mostly covers the Vedic Period, Indian Music linage and its simple definition. Kindly watch/ listen and please suggest for the area of improvement, topic to covered in upcoming lecture series. 

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Raga Rasa

 The beauty that can be experienced while performing/ listening the Raga of Indian classical music is much more associated with the Raga -Rasa. It has no limit and depends on the spectators that how he/she observe, experience and feel the subject while watching or listing the music. Rasa is kind of realisation and varies from person to person. "Sundarta Dekhne walo ki Soch Evum Ankho mai Hoti hy" - The sensual transformation that delight and impregnate all aspect of life is a Rasa erupted while realising the rendering of Raga. In addition, the combination of the melody of the  Raga and mental well being of the artist, a wave of imagination is created called the emotion of Raga.  

    Raga itself is budded with its specific characteristics and the melodic structure that defines the affection and creation of entire universe as Naad- Brahma. In Indian Classical Music Rasa is not only considered as the melody structure but also is a philosophy of Naad, a manifestation of the melody with proper grammatical sequencing of Shruti and Swar as describes in the Veda. The feeling of Rasa while listening the Raga as listener may  have different emotions than the artist who is performing the same Raga. The basic and fundamental thing to realise the aesthetic, beauty and emotion of Raga is to be obliterated form personal ego,  imbibe and absorb the melody without any judgement.

    The combination of Swar and Shruti is different in different Raga even of similar nature or similar ascent and descent while the aesthetic behind these combination germinated the frequency of emotions in different aspects. The Nature of Madhyamad Sarang is different then Megh, Puriya, Marwa and Sohani are of different emotions, Bhupali and Deskar of reverse nature to another another, Jaldhar-Kedar- Durga  and so many raga having same Swar combination in Aroh and Avaroh have different nature. Raga-Rasa is thus the term having simple meaning -realisation of Raga . It not not the matter of analysis or it is not the matter of comparison what the structure of Raga is? what is the Swar combination ? or What is the Thaat, Jati, Gayan, Samey, Vadi, Samvadi, it is only the feeling or visualising the Raga while listening or performing. 

    It is always matters the correct combination of notes in Raga, The combination of Swar in Bhupali is different than Deskar even they both share same scale. SRGRSD.D.S...GPGRESD.P.--DS... GPDD S. is is the Swar of Bhupali  whereas SDPD... PGRS,.. GPD... S. is the character of Deskar similarly the swar Combination of Megh - n. R S.... RR P .. m R n. R S... is completely different than Madhyamad Sarang- R MR... RMPMRS.. nPmRmRS... n.SRS.. (Kindly learn form the guru for correct intonation of these notes). By improvising and visualising these notes in correct sequences create a unique emotions called the Rasa. The Character of Megh Raga and its notes combination create an emotion of Romance, a feeling of thunderbolt and raining... Nature of Raga Megh is intense and stable so the Rasa germinated is kind of Gambhir with Bhayanak- a fear of thundering and darkness if alone or feeling of love and romance and coolness of rain if mingle together. Raga Madhyamad Sarang is an emblem of pure romance, love and affection calling as Chanchal Prakriti and Shringar Rasa whereas the character of Marwa is deep sentimental and sadness, Puriya is moderate Sadness and Sohani is a mixed feeling of love- Sanyog and Viyog. 

    Raga and Rasa of Indian Classical Music has a distinct character that create the deep connection of Naad-Shruti and Swar to germinate a melody as well as emotions and feeling of self realisation of the musical intonation of each and individual Raga. Every single Raga of Indian Classical Music have distinct Swar combination and distinct emotions as described in Shastra. The Rasa of the Raga is only possible and one can visualise it if the mind and sole is stable and can understand the frequency of sound. Raga Rasa is philosophy, a Metaphysic and the spiritual connection Indian classical Music. 

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Rasa Siddhant of Abhinavgupt

                                                  Abhivyaktivad of Abhinavgupt 

    Vibhavaanubhavyavicharisanyogadrasnispatti- means the adjoining of Vibhav, Anubhav, and Vybhichari Bhav, the Rasa (Beauty/Aesthetic) is generated in the human mind and soul.  The Abhivyaktvad of Abhinavgupt specifically coated that Sanyog means the co-relationship word- expression, light- illuminator or can be said as the relation of Vyangya- Vyanjak or Prkashya-Prakashak Bhav. Acharya Abhinavgupt also stated that Nispatti mean the expression of the aesthetics in his epic book Abhinav Bharti. The consideration and opinion of Acharya Abhinavgupt is followed by the renowned rhetoric(Alankar-Shastra) phoneticism(Dhwanivad) Acharya Anandvardan so the expressionism of Abhinavgupt is also called as the Figurative principle (Aalankarikmat). 

    The Theory of Expressionism- Abhivyaktivad is basically focus on the connection of Vibhav and all to create an amazing act in soul called as Euphemism (Vyanjana). Though this supernatural phenomenon, an emerging of desire in spectator soul express the feeling of Rasa. Abhuinavgupt said the desire are individual and already in each human soul when connected with the character the innermost desire gets bubbling and the spectator feel the emotions of his/her own and he/she himself/ herself get connected to the artist and feel that he/she himself/herself are in the drama, playing the role as an individual character, thats why when we watch a movie our subconscious mind choose one character of that movie. If we supposed to the hero than each and every activity of hero make us feel good. when some Villain attack the hero we feel angry, and when hero win the fight we too feel like the satisfaction and enjoy the victory. Each and every character connected with hero makes us same feeling like they all are connected with myself. If somebody hurt hero then we too feel sad, if hero fall in love then we feel romantic so these all activity and desire of craving is defined as generalisation of mind and soul with hero or the character of drama.  

    The similar thing is happens in music and dance too. When spectator watch the dance performance or music performance, the eternal desire when blend with the melody and movement of the dancer or musician then the germination of emotions is generated unconsciously. The spectator never thought should i feel happy or should i cry, it happens unknowingly and the level of emotions  varies form person to person. The Artis playing Sitar in stage may feel different when he playing is playing a Thumri and the audience in front of him may feel the different emotions while listening the same melody. A vocalist sing the  Bandish"Piya nahi aaye " might thinking the love-affection between Radha Krishna but a listener may feel his own experience of love in the same lyrics. In his explanation he also criticise the theory of Bhatt Nayak that Bhavna (sentiments) and Bhog (Perception ) is not only the the characters to capitalised the feeling of others but it is a kindly of Euphemism that reside in the soul of the spectator that unconsciously germinate the emotions in real meaning and that emotions is not indirect or imagination but a cognizable by your own sense. He further added each human have numerous kind of desire hidden inside the soul but when encounter with Bhav-Vibhav and Sanchari Bhav it suddenly yield in the mind and some changes can be observed in physical and mental level of the person in the form of Anger, Sorrow, Happiness, Satire or many more, similarly as the fragrance of clay yield when rain water falls on it.

    Ahinavgupt further defines the theory of expression with seven component of Sadhak Tatwa (Seeker Path) and Seven Badhak-Tatwa (Hindrance Path). These Component are as follows:-

Sadhak Tatwa:-

1. Rasikatwa
2. Sahridya
3. Pratibha
4. Vasna - Sanskar
5. Bhawna-Charwana 
6. Shareerik evum Manasik Yogeta -शारीरिक  एवं मानसिक योग्यता
7. Tadtymy-तादात्म्य

Badhak Tatva:-

1. Pratipattavyogyata
2. Ashryagat evum Vishyagat Seemaye- samey k Adhar par 
3. Ashryagat evum Vishyagat Seemaye- Sthan k Adhar par 
4. Nij Sukh-Dukhadi Vivashi Bhav
5. Pratityupayavaikalyat-sphutatwa Bhav
6. Apradhanta
7. Sanshay Yog

Note: These seven Sadhaktwa and Badhaktwa will be explained in another article.

 

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