Hailing from a traditional Indian family, Susheela Shrimushnam was recognized as a child sensation and performed on stage at the age of eleven. She has pursued music as her passion in both theory and practical; been a part of several music concerts & worked on various research projects. Music is essentially the central component of her life. One of the most satisfying experiences in her life was the experiment in applying music as a therapy to mentally challenged children and adults which yielded positive results.
Susheela Shrimushnam wishes to excel in imparting the art of music successfully in her life.
• Introduction to Indian Music
• History of Indian Music
• Components of Indian Music
• Features of traditional method of teaching music
• Development of music through modern institutions
• Comparison, pros and cons with analytical observation
Indian music dates back to 1st Century BC; the primeval musical text “Natyashastra” written by Bharatha. Indian music as a whole continued to flourish until it witnessed foreign invasion from Arabia & Persian during 12th Century AD.
During ancient times as explained in several musical texts (Ref: Brihaddeshi by Matanga, 7th Century AD & Sangeetha Ratnakara by Saarangadeva, 12th Century AD), Indian music was taught in a unique institution called “Gurukula”. Later on, the same system of music was adapted to be taught in modern institutions contemporary techniques.
Music has several remarkable dimensions like interdisciplinary studies, music therapy, ethno musicology & music criticism. Based on the above aspects, one can gauge whether the ancient method of teaching music is comparatively better yielding than the modern approach. In South Indian music, equal importance is given to the scale, rhythm, composition, literary aspect, rhetorical beauty & prosody; all this collectively is presented along with suitable musical instruments.
Indian music is built upon the chord system (explained in Sanskrit in almost all the musical texts) in which thirteen types of chords are most essential in both vocal and instrumental music. To attain totality in the above, both traditional and modern institutions have contributed equally.
To conclude, the vast knowledge of music is preserved and propagated by both the traditional and modern institutions.