Gandharva Mahavidyalaya New Delhi is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digambar Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyalaya was established by him on 5 May 1901 at Lahore. The New Delhi school follows the syllabi set by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal.
The courses of study followed by the Mahavidyalaya are those approved by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal. It has nearly 1200 affiliated institutions and 800 Exam Centers across India. In 2007, the number of students enrolled exceeded 100,000.
Branches
Gandharva Mahavidyalaya, New Delhi was established in 1939 by Padma Shri Pt. Vinay Chandra Maudgalya from the Gwalior gharana. It was Initially established in Prem House, Connaught Place, New Delhi and also branched out in old Delhi at Kamla Nagar near Delhi University. In 1972 The new building in Deen dayal Upadhyaya Marg was established and it now headed by Pt. Vinay Chandra Maudgalaya's son Pt. Madhup Mudgal since 1995. It has over 1,200 students and a faculty of 60 teachers. Gandharva Mahavidyalaya has also been organizing the annual "Vishnu Digamber Festival" in Delhi, for many years now.[1][2] There is no branch of Gandharva Mahavidyalaya, New Delhi elsewhere in Delhi. It is affiliated to Akhil Bhartiya Gandharva Mahavidyalaya, Miraj.
The Mahavidyalaya is guided by a Music Advisory Board composed of top ranking learned and veteran musicians of India.
Admission
The following Certificates / Diplomas of ABGMM are awarded to the successful students:
Sangeet Praveshika (2 years course) i.e., equivalent to matriculation
i.e., equivalent to senior secondary
Sangeet Madhyama (2 years course) i.e., equivalent to Diploma
Sangeet Visharad (3 years course) i.e., equivalent to Degree (Bachelor of Music)
Sangeet Alankar (2 years course) i.e., equivalent to M.A. (Masters of Music)
Admission to Gandharva Mahavidyalaya is open to persons of all ages, castes, creeds and religions. Male and female students are trained separately.
There is one session in a year - in July. Applicants are required to undergo a Music Syllabus preliminary test. Only those who clear this test are granted admission.
1. Prarambhik (elementary): Pre-matric. Knowledge of Shudha Swaras, Vadi, Samvadi, Audav-Shadav and one Chhota Khayal in each raga of the first year course.
2. Praveshika (first year): Knowledge of Shudha and Vikrit Swaras, Alankar, Nad, Saptak, Mela, Raga, Jati, Alap, Tan and Pakar.
Ragas: asavari (shuddha rishabh), Bibhas, Vridavani Sarang, Bhimpalas, Durga, Des
3. Praveshika (second year): Matric Music Knowledge of Alankars of more than four swaras including Vikrit Swara.
Tala: Ektal Vilambit, Chautal, Dhamar, Rupak, Dugun of all Tals. Knowledge of systems of Hindustani and Carnatic music; specialities of Nad, Varna, Swaralipi of Vishnu Digambar and Bhatkhande paddhati.
Definitions: Khayal, Dhrupad, Dhamar, Tappa, Thumri, Bhajan, Ghazal, Shruti, Janak and Janya Raga, Grah Ansha, Nyas, Meend, Kana Swara, Poorvang, Uttarang, Sankeerna Ragas, Gat, Tora, Sparsh, Krintan, Mizrab. Biography of Pt. Vishnu Digambar Paluskar.
4. Madhyama (Third year): Tuning of Tanpura, Division of 22 Shrutis in seven Swaras.
Madhya Laya Khayals with improvisations in Jaunpuri, Malkauns, Hamir, Patdeep, Tilang, Deshkar, and Kalingda,[3] Vilambit and Drut Khayals with improvisations in Bhupali, Yaman (Kalyan) Bageshri and Bihag.
Tala: Jhumra, Sul, Tilwada and Deepchandi; detailed knowledge of Laya; practical knowledge of Meend, Sut, Ghasit, Murki. Tanas: Saral, Kut, Mishra, Sapat, Zamzama, Gamak, Uthav, Chalan, Nad and Shruti; writing Dugun and Chaugun of Dhrupad and Dhamar; detailed knowledge of Swaralipi of Vishnu Digambar and Bhatkhande paddhati.
5. Madhyama (Fourth year): Madhyam Laya Khayals with improvisations in Chhayanat, Kamod, Gaud Sarang, Jaijaoiwanti, Pooriya dhanashree, Shankara; Vilambit and Drut Khayals with improvisations in Alhaiya Bilawal, Bhairav, Bhimpalasi, Brindavani Sarang and Kedar, appropriate knowledge of Dhvani, Kampan, Andolan; comparison between Hindustani and Karnatak systems of music; Guna (merits) and Dosha (demerits) in a musician. Definition of Alpatva, Bahutva, Avirbhav, Tirobhav, Prabandh, Chaturang and Trivat; Anulom, Vilom, Veend, Zamzama, Chikari, Jhala, Dillibaaj, Poorabbaaj and knowledge of Vyankatamakhis 80 melakartas.
6. Visharad (Fifth year):
Madhya Laya Khayals with improvisations
Vilambit and Drut Khayals with improvisations in ragas Todi, shudha sarang, multani, yaman, bihag, puriadhanashri, rageshri, jog, shankara knowledge of singing from written Swaralipi; knowledge of Ada Chautal, Adha, Punjabi Dhumali, Chacher and Sul.
Dhrupad-Dhamar in Dugun, Tigun, Chaugun and Chhagun.
Chhagun and Athgun Tana with Jod, Alap Jhala, Maseetkhani knowGat.
Styles of Alap; detailed description of varieties of Tanas; Vidari, Ragalakashan, Jatigayan, Vinyas, Apanyas, Gayaki, Nayaki, Ladant. Writing in Swaralipi (notation); Classification of Ragas; Biographies of ancient musicians.
7. Visharad (Sixth year)
Madhya Laya Khayals with improvisations in and Vilambit and Drut Khayals with improvisations in Bhairav, Komalrishabha Asawari, Deshkar, Madhamad Sarang, Puria kalyan, Hamir, Bhupali, Kalavati, Gorakh Kalyan, Bahar. Detailed knowledge of these Ragas and also of Dhrupad, Dhamar, Maseetkhani and Razakhani Gat, Trivat, Chaturang; Vilambit and Drut Khayal, Thumri, Pad Kavita; knowledge of different kinds of Layakaris of the talas: Matta, Sawari, Brahma, Laxmi, Rudra; appropriate knowledge of the divisions of Shruti-Swar as in ancient, medieval and modern times; comparison of Hindustani and Karnatak tala systems. Knowledge of Gram, Moorchhana, Kalawant, Pandit, Vaggeyakar, Khandarbani Nauharbani, etc. Varieties of Gamak, Rag-ragini paddhati, That paddhati and Raga paddhati. Biographies of Jaidev, Gopal Nayak, Khusro, Tansen, Swami Haridas, Baiju, Sadarang, Bhaskarbua, Vazhebua, Alladiya Khan, Balkrishnabua, Maseet Khan, Faiyaz Khan and Inayat Khan. Knowledge of Staff Notation; history of the instrument, importance of Jhankar in instrument; necessity of Tarab; application of Chikari.
8. Visharad Tritiya (as per syllabus changes in April/May 2013)- ragas are Lalit, Bilaskhani Todi, Jaunpuri, Marubihag, Nand, Miyanmalhar, Hansdhwahni, Darabari, Basant, Tilakkamod.
9. Sangeet Alankar (Seventh & Eighth year): M. Music
Any one of the following three to be taken:
(a) Performance and Music Composition
(b) Practical Music
(c) Science and History of Music
Details are at Pathyakram-Nayamavali of the Akhil Bharatiya Gandharva Mahavidyalaya Mandal (Mumbai), Gandharva Niketan Brahman Puri, Miraj 416410 (Maharashtra).
For details of courses of study and examinations in instrumental Music and Dance you may refer to the prospectus and syllabus of All India Gandharva Mahavidyalaya Mandal, Mumbai Gandharva Mahavidyalaya has some Bharatnatyam exams.
Khyal or Khayal is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Marg Sangeet and Shastriya Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from Eastern part of India, i. e. Odissi music has evolved since two thousand years ago.
The Alap is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised and unaccompanied, and started at a slow tempo. For people unfamiliar with the raga form, it introduces the thaat to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role.
Hindustani classical music is the classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or, in Hindustani, shastriya sangeet. The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. While Carnatic music largely uses compositions written in Sanskrit, Kannada, Telugu, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi-Urdu, Braj, Avadhi, Punjabi, and Rajasthani,.
Ustad Amir Khan was one of the greatest and most influential Indian vocalists in the Hindustani classical tradition. He was the founder of the Indore gharana.
The Gwalior Gharana is one of the oldest Khyal Gharana in Indian classical music. The rise of the Gwalior Gharana started with the reign of the Mughal emperor Akbar (1542–1605).
Adana is an Indian raag. It is also called Adana Kanada. It is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada, as Adana is straighter than Darbari in its chalan, thus allowing faster passages. The flow of this raga is similar to a mix of Madhumad Sarang / Megh and Darbari. Another common vivadi some artists use sparingly is shuddha nishad which enhances the Saranga mood of the raga.
Pandit Vidyadhar Vyas is an Indian Hindustani vocalist, and a contemporary exponent of the Paluskar style of North Indian classical singing. He belongs to the Gwalior gharana and the lineage of Sangeet Maharshi Pandit Vishnu Digambar Paluskar contributed to his background.
Yaman is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat.
Indore gharana is one of the vocal gharanas of Indian classical music. It was founded by Amir Khan, who studied the styles of Abdul Wahid Khan, Aman Ali Khan, Rajab Ali Khan and Abdul Karim Khan and amalgamated their style.
R. K. Bijapure was an Indian harmonium player in the Hindustani classical tradition.
Madhup Mudgal is an Indian Hindustani classical music vocalist., known for his khayal and bhajan renditions. A disciple of Kumar Gandharva, he is also a composer, conductor of famous Gandharva Choir and has been principal of the Gandharva Mahavidyalaya, Delhi, a music and dance school since 1995.
Manjusha Kulkarni-Patil is a Hindustani classical music vocalist. She belongs to the Gwalior gharana.
Madhavi Mudgal is an Indian classical dancer known for her Odissi dance style. She has won several awards, including the Sanskriti Award, 1984, President of India's award of Padma Shri, 1990, the Orissa State Sangeet Natak Akademi Award, 1996, Grande Medaille de la Ville by Govt. of France, 1997, Central Sangeet Natak Akademi Award, 2000, Delhi State Parishad Samman, 2002 and the title of Nritya Choodamani in 2004.
Aarti Nayak-Kamath is an Indian Hindustani classical music vocalist working in the Gwalior gharana tradition. She has also performed in Sangeet Natak musical drama.
Vinay Chandra Maudgalya(1918 - 1995) was an Indian classical musician, vocalist and the founder of Gandharva Mahavidyalaya, a music and dance academy for the promotion of Hindustani music and Indian classical dances. He was a follower of Gwalior gharana. The Government of India awarded him the fourth highest Indian civilian honour of Padma Shri in 1984.
Akhil Bharatiya Gandharva Mahavidyalaya Mandal is an institution for the promotion and propagation of Indian classical music and dance. The administrative offices of ABGMVM are in Miraj, while its main music school or Sangeet Vidyalaya is in Vashi, Navi Mumbai. The institution provides training and certification in vocal music; instrumental music, including melody instruments such as sitar as well as percussion instruments such as tabla; and various classical dance forms such as Odissi, Bharata Natyam, and Kathak.
Shashwati Mandal is a Hindustani classical music vocalist. She is an exponent of the Gwalior gharana.
Pandit Falguni Mitra is a Hindustani classical vocalist who is known as a Dhrupad exponent of India. Mitra belongs to the Bettiah gharana.
Ali F. M. Razwan is an Indian classical musician in the Hindustani tradition. He belongs to the Gwalior-Jaipur-Agra gharana.
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