Ragdari Music
Conception of Ragas, understanding all the parameters of
Ragas. This living art has an insatiable thirst and is practiced through different genres of music
namely high classical styles like Dhrupada, Dhamara, and The Khayala( traditional Bandish and intricate
compositions or Cheej in musical terminology), light classical styles like Thumri ( Banaras Anga,
Punjabi anga and Bandishi Thumri), Dadara, Tappa, Bhajans, poetry oriented popular styles like Ghazals,
Bhajans etc. The efforts to preserve the contemporary Gharana music, extensive in its coverage and
selective in its method practiced at Sangeet Sadhana are exemplary.
Benefits of learning Hindustani Classical Music
1. Knowing your roots is important aspect of any
civilisation. India is known to the world for its unique cultural heritage, starting from
practicing Yoga to medicine to literature to music, dance, drama our contribution to the world is
immense . The way we feel proud when the western world acknowledges our cultural heritage, same way it
is the duty of each individual to protect and propagate our cultural roots to the next generation and
Hindustani classical music is definitely on of the greatest example of it, Mughal era marks the zenith
of Hindustani music . It is a great example to demonstrate, how cultural diversity can beautify
something .
2. Hindustani Classical Music strengthens and builds the voice culture. Voice Culture covers
voice flexibility while ensuring breath control, uniformity in voice, clarity in voice, articulation,
resonance and Vocal range.
3. Hindustani Classical Music teaches precision. Hours of dedicated Riyaz (practice) lends one
the ability to render every note, every rhythm in its designated place, not a frequency here or there –
thus taking one to the foothills of aesthetics.
4. Hindustani Classical Music teaches dedication and Self Discipline. Indian classical music is a
rich musical tradition filled with complexity. Performance of Indian classical music requires many years
of study and discipline. In order to master the fundamental techniques, and feel their resonance within
oneself, the teacher to student (guru-shishya) relationship is of paramount importance. Becoming
immersed in raga theory and practice, a student learns primarily through oral means by listening and
learning the tradition passed down from his or her guru. Many years of dedicated training is needed
between the guru and his disciple before these building blocks can be fully accomplished