Why Should American Musicians Study Indian Classical Music? Part 1: Introduction

After several years of studying Indian Classical Music (still very much a beginner in many ways) it just doesn't sound that exotic to me anymore. This is actually something about which I am quite happy. Even more-so, Indian Classical Music has become such a regular part of my daily routine it's rather strange to me that not everyone knows what Raga and Tala mean. They have never heard of Ram Naryan, baba Allauddin Khan or Rabindranath Tagore.

Almost two years ago I posted a video on YouTube where I asked the question: “does anyone think it’s strange that the whole world studies western classical music?” Though no one created any responses, I would be wholeheartedly surprised if any person answered in the affirmative. The idea of violin/cello/piano schools in every continent of the planet seems to be something of a mundane fact. Nobody bats an eye over the notion that several of the most accomplished European classical musicians have family and cultural roots that go back to Asia, not Europe.

So my next question would be: “why then, if the rest of the world has embraced our classical traditions have we not reciprocated?” Why is it still a novelty to see a young American playing a spike fiddle or Sarangi? Is it possible that this ignorance stems from the same notion that (for so long) informed us that western classical music is the greatest/most sophisticated music that exists?

Surely in our modern age global intercommunication and cultural diversity we have overcome that outmoded idea. Therefore I suppose the short answer to the question “why should American musicians study Indian Classical Music?” could be answered with another question: “why should American musicians European Classical Music?” 

The Cup Song Phenomenon, and What It Can Teach Us About Musical Play

Yesterday a student came into my office with her normal 16 oz Dutch Brother's chai - for better or worse, it certainly seems to give her the energy to tackle difficult music. She brought with her an extra cup and let me know that she taught herself a new song. I said: "cool, have you been singing along with a recording or using a karaoke track?" She replied: "actually, you just sing with a cup." So, we sat on the floor and she proceeded to drum and move the cup around creating percussive sounds while singing a bluesy (mostly pentatonic) melody. 

I was really quite astounded. The drumming and choreographed cup movements were repetitive, but none-the-less sophisticated. Of course her singing was beautiful as always. I asked her when she finished whether or not this was a popular thing. It turned that that many young women were posting videos of themselves performing this (apparently the original version of the performance appeared in the film [I didn't see] "Pitch Perfect). One example is below:

It wasn't really surprising to me that the vast bulk of these videos were being created by young females. I can remember being in grade school and observing my classmates. Boys would often be playing tag, chasing each other around, punching/kicking, and/or playing basketball. On the other side of the yard there were usually at lease a few girls playing elaborate versions of patty-cake. This seemed a mystery to me (along with the bizarre future telling device made out of paper... but I digress). 

So, obviously there is quite a precedent for "the cup song" phenomenon. In fact, musical games are performed (primarily by girls) all over the world. And I think, as music teachers, this represents a wonderful opportunity for us to reevaluate the way we go about teaching rhythm and melody. Kodaly revolutionized (or at least codified) music instruction for young children by (re)introducing musical games, singing, and group activities into the classroom. In that vein, wouldn't it be possible to generate a book of simple rhythms and songs that could be learned by all students as part of a standard music curriculum?

Music teachers love to complain about students not practicing. And yet, the young people posting "cup song" videos on YouTube are spending a fair amount of time learning how to maneuver their "drum" and sing at the same time. Think of the classic American folk-songs (especially those from the south) that could be revived by doing similar things with them.

*Of course, it is entirely possible that a curriculum like the one I am proposing exists already and I just haven't heard of it. If that is the case I hope you will post some info for the rest of us. But until then:

OK composers and music teachers, let's see what you got!

Taus, Dilruba, and Esraj Method Book Now Available

Greetings all!

I am very pleased to announce  the new book "A Practical Method for Taus, Dilruba, and Esraj" has recently become available at Amazon.com and Rain City Music. This text was the result of several years of work/learning/research, so, to be able to offer it (finally) feels really great. 

The book outlines a brief history of the instruments, maintenance and care, music theory, and practical lessons. Its not entirely a self-study text, but those of you who have experience with musical instruments you could probably work with it on your own. It would be most useful, however, with an instructor. 

So, if you have been meaning to learn Taus, Dilruba, or Esraj I would like to invite you to consider "A Practical Method" as I really feel it will help you on your way. There is also a much less expensive Kindle version as well.

Order at Amazon.com

Purchase the Kindle Version

Order at Rain City Music

All the best!
-Michael 

The Ending of a Graduate Student Jorney; Part III

My masters degree program kicked off with our first residential which happened in August of 2010. I had never been to the UK before and was fairly anxious about traveling internationally. Not that it was really terribly new to me, as a child I lived in Japan and visited as an adult. Plus growing up on the Mexican border meant short trips to our southern neighbor. Still, the fear of the unknown plays strong in my psyche and I can be a fairly nervous person in general.

I flew to London from Phoenix AZ, and caught a bus up to Sheffield, it was a long trip (about 17 hours total). I checked into the university accommodation and fell asleep rather easily on the small cot in my dormitory. The weather was lovely in South Yorkshire, not at all like the 110 degree summers I was used to in Phoenix. Walking was really enjoyable with all the green around and save for a few cultural hiccups (stores don't open terribly early) there were no real adaptation problems.

The residential itself was fairly overwhelming, but also really wonderful. I met a few fellow-Americans as well as many students from a host of other countries. I took some pride in the fact that we were such a diverse group. There were several Europeans, a charming young woman from Japan, a brilliant violinist from Hong Kong, and a record producer from Trinidad. In retrospect, I think I can safely say that I learned just as much from my classmates in the program as I did from the modules.

Myself and a (younger than me) tutor at the pub.

Over the next three residential (during the course of two years) my classmates and I would spend much more time together. Of course, the University provided events which we could attend, as well as mini-field research projects, but just venturing around the community was equally as fruitful. Naturally, we are all still connected (on some level) through FaceBook. 

The Ending of a Graduate Student Jorney; Part II

My experience with "distance" education started in my late 20's. My girlfriend (later my wife) had managed to persuade me to return to college in order to finish my bachelor's degree (I had dropped out at 21 after being denied admission to the School of Music at Arizona State University). I considered re-auditioning with the hopes of finishing a degree in music composition but was advised that should I be rejected a second time, the likelihood of being offered an opportunity to thrice fail was slim. I couldn't say whether or not I would have passed the audition, after all; I had been diligently practicing for the past five years, I had been on tour with two bands and was in fact teaching music for a local after school program. But the memory of the rejection pressed hard on my mind. I was also informed by an academic adviser in the School of Music; that to allow me to study within the college itself, without being a music major, would constitute a "waste of resources." In this time I had also come to the realization that in order to attend school full time (and in person), I would need to quit my job of private music instruction, which was paying me well and had allowed me to engage professionally in music which was something I was not terribly anxious to give up. 

All of these things factored into my decision not to return to Arizona State University, but rather to find some other option for completing my degree. It was then that I came across the three primary correspondence universities in the US; Excelsior, Thomas Edison and Charter Oak State College. My choice was the final. For the next two years I worked very hard at finishing my Bachelor of Arts in Music History (something I am very grateful was a distance offering). In 2010 I graduated with honors. My salery didn't go up, I received no promotions I wouldn't have gotten without the degree, but the time working with the professors to whom I was assigned changed me in a way (and improved my writing) that I couldn't have anticipated. 

Because the initial hurdle of my bachelor's degree was complete, and because I had the full support of my parents (financially), I decided to look for graduate studies options. During this time I had also taken up playing the Dilruba, and had been studying Hindusthani vocals with a saintly teacher who encouraged me faithfully. This naturally led me to weekly web-searches for programs that included non-western musics, which is how I came across the University of Sheffield's Master of Arts in World Music Studies programme (no, I am not misspelling it, that is actually how "program" is written in the UK). Essentially the program was everything for which I was looking, it was distance learning (sort of, it actually required four visits to the physical campus over two years in order to attend seminars and present findings among other activities) and wouldn't interfere with my work schedule (much). 

So, I decided to take the plunge. I renewed my passport (thanks to my wife who had set my expired one aside) and sent in my application materials. I was thrilled to hear that I had received an unconditional invitation to join the programme which I proudly announced to a class voice course I was attending at the local community college. I really had very little idea as to what to expect but was anxious that for the first time in a long time, I felt that my goals were back on track. 

The Ending of a Graduate Student Jorney; Part I

The University of Sheffield's Master of Arts

in World Music Studies, class of 2012 complete

with students faculty and staff. 

I don't know how public I have made this (especially on this blog), but as of the writing of this entry I am a student through the University of Sheffield's Master of Arts in World Music Studies Programme. Actually, to speak literally, as of writing this I have just completed my final residential on the campus here in Sheffield and am preparing to return to Oregon where I will be completing the writing of my dissertation. Currently, I am seated in a train-station lounge waiting to take a trip to London where I will meet with some dear and helpful people at the Raj Academy school of Sikh and Indian music. 

My journey through an advanced degree followed (in some ways) the typical course for so many students. What I mean to say is; that plans were laid out during undergraduate work to study beyond the bachelor level with the hopes of entering higher education as a career. While I have proceeded to accomplish some of this during the course of adulthood - I can't help but feel as though I am a million miles from where I expected. My life, took so many twists while I was in my 20's that when I look back on the whole ordeal, I find it astounding that I should end up here. 

In the UK, this programme which I am on the verge of completing is officially a distance-learning module. In the US, we would refer to it as "low-residency" as the students are required to attend the physical campus twice a year where they engage in workshops, lectures and presentations. The final residental ended for my class just yesterday on Apr 5, 2012 and while I am quite anxious to get home to my family I must admit that I have grown close to my colleagues involved in the WMS course. 

My purpose for writing this is that it might be of some use to people in similar situations as the one in which  I found myself. Namely, being an adult student in a graduate program when so many young academics are going straight through to terminal degrees, without ever entering the workforce before their PhD. When one is in this situation, it becomes very easy to feel as though the world has passed you by. I am not yet in a position to state whether or not this is the case, I can only reflect on my own current and past predicaments. 

Vocal Study Products: List One

Some parents/students have asked me to summarize the various vocal training methods I have been considering. So, I have generated two lists. The first are the major home study products. These are the first-rate-celebrity vocal coaches that have come out with training materials (apparently) intended to be an all-in –one program. The second list will be additional components, or lesser known products aimed at being supplementary material for students currently enrolled in voice lessons. These lists are in no way intended to be a review of any kind, the only goal here is to inform consumers of what is available. It is strongly suggested that you view the product summaries on the seller’s webpage directly.

List One: Major Players in Home Vocal Study Products


 Singing Success – Brett Manning

This is the only program out of the bunch (meaning this first list) with which I have had first-hand experience. I managed to procure a copy of the program while I was looking for materials for students and was very taken with the method. It had made an impression so much so that I actually recommended the program in a past blog.  In truth, the best vocal study product I have come across so far is the “Mastering the Mix” program (also by Brett Manning) which was billed as something of a follow-up to the Singing Success CDs. There is no specific time-frame for the course, the student is simply supposed to work through it at their own pace (it took me the better part of a year to complete the Singing Success CDs). To summarize the approach; essentially, it is a step by step series of vocal strengthening sessions in order to make the voice more pliable and virtuosic. Singing Success used to offer a payment plan, but I have been unable to verify if they still do this.

Physical Version (Singing Success) $199.95 + $10.00 Shipping Download Version 199.95

Physical Version (Mastering the Mix) $249.99 Download Version $249.99

 How to Sing Better Than Anyone Else - KenTamplin

Ken Tamplin is an absolute legend in the Christian rock genre, and his high note chops are first rate. It is actually his own skill that is the major selling point for this program as can be seen from his many “how to sing like…” videos on YouTube. I reviewed his “e-book” publication in an earlier blog which garnished me some degree of ridicule from Tamplin supporters.  Regarding the program; there are three levels total. The first two are (I am told) designed to form a foundation for correct singing whereas the last is supposed to be advanced training. I have not used Tamplin’s series and therefore cannot comment on its effectiveness, however; there are many singers out there who stand by the program.

Physical Version $319.00 Download Version $299.00

The Singing Zone - Per Bristow

This program seems to be the only one out of the bunch that is completely video-based.  A total of four DVDs comprise issues such as generating more power with your voice, singing in tune, increasing your range, and finally; breathing.  Again, there doesn’t seem to be any set schedule for using the lessons, although it is conceivable that one could spend a week with each video.

Physical Version $177.00 Download Version $147.00

  Singorama – No Known Author

I looked around, fairly hard (much harder than I wanted to for this blog) to find who the author for this program was. Sadly I was unable to uncover that bit of data, so any of you readers who know the answer please feel free to drop a comment letting us all know. This program comprises 28 lessons, and from the looks of it, this is the only program to have a theoretical component to it. Meaning that you get all the breathing, pitch and range work, and also solfege, meter and scale theory, this is worth mentioning. Of course, if you already have a theoretical basis (such as, if you took piano lessons) this might not be quite the draw I am making it out to be. Aside from this there are also practical segments such as; how to sing with a band, and audition advice.

Pysical Version $299.95 Download Version $99.95

Vocal Release - Eric Frey

Vocal Release is an eight week program that on the surface is indistinguishable from the others. What is really nice here is the apparent step-by-step approach of clearing the voice of “bad habits” and then applying the exercises. The idea (seems to be) that the singer will cycle through the program every two months checking in with the audio files and making sure no bad habits develop along with keeping everything humming. Eric Frey is also a gifted vocalist worth hearing if you are a fan of rock-vocals.

Physical Version Not Available Download Version $97