0% found this document useful (0 votes)
104 views29 pages

PFM Tamil

Uploaded by

srtejal02
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
0% found this document useful (0 votes)
104 views29 pages

PFM Tamil

Uploaded by

srtejal02
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 29

SOUTH POPULAR & FILM MUSIC (TAMIL)

ARTIUM ACADEMY
A UNIQUE, FIRST-OF -ITS-KIND MUSIC TRAINING

INSTITUTION
The Artium Film Music courses that I have designed for Tamil
Film Music, combinesCarnatic music training, voice training,
film music repertoire training and performancetraining.
Through this design that has never been attempted earlier on
a large scale, I bringto you, the experiences and insights I
have gathered over a lifetime regarding the higheraspects of
professional singing and performance. I have created this
course withpedagogical inputs from Shri. Ananth
Vaidyanathan.

So far, all film music aspirants, reality show aspirants and


other such enthusiasts had to go toa pure Carnatic or
Hindustani trainer to learn classical music and were left to
adapt thoselearnings to the needs of other styles. The voice
culture, aesthetics and performance stylesof film and light
music are markedly different from Carnatic music. It was high
Padma Bhushan
time weindustry leaders created a course that combines
Carnatic music training and film / lightmusic training. Creating
KS Chithra such a course of this kind was on my mind for years and I
havefinally had the opportunity to do so at Artium.
WHAT IS UNIQUE ABOUT ARTIUM?

ARTIUM IS THE FIRST INSTITUTION TO

BE GUIDED BY AND HAVE COURSES DESIGNED

BY TOP INDUSTRY LUMINARIES

MERGE SCIENTIFIC VOICE TRAINING

WITH VOCAL MUSIC TRAINING

DEVELOP A SCIENTIFIC SYSTEM FOR TRAINING

IN INDIAN FILM MUSIC AND LIGHT MUSIC


BRING CENTRAL FOCUS ON PERFORMANCE

SKILLS, SINCE MUSIC IS A PERFORMING ART

RESPECT AND DEVELOP THE ORIGINAL NATURAL

TALENT AND CHARACTER OF THE STUDENT

CAPTURE AND COMBINE THE BEST ASPECTS OF

TRADITIONAL GHARANA TRAINING METHODS &

THE BEST OF INSTITUTIONAL EDUCATION SYSTEMS


WHAT IS THE UNIQUENESS OF ARTIUM FOR YOU AS A STUDENT OF MUSIC?
We will make you perform to the best of your talent.

You will be guided by an artist who is an accomplished music performer in addition to being a committed, able,
experienced teacher.

You will learn voice science and how to make it dramatically improve your singing.

You will learn


Carnatic classical music
as well as the secret art of professional film and light music performance, which has been developed at Artium drawing from
long research into the methods of the greatest of stars from KS CHITHRA, SHREYA GOSHAL, S JANAKI, HARIHARAN, P SUSHEELA,
VANI JAYARAM, SRINIVAS, and others
Your individuality and talent will be analysed and you will be developed according to your uniqueness.

You will get opportunities to perform and if you do well, your single could be launched in Artium Originals.
By the end of the Advanced Program you would have
Developed into a competent performer Film Music style in accordance with his / her capacity and aspiration.

Developed the knowledge and skills to deliver a Carnatic music concert

Developed his or her tone to the fullest extent possible in terms of texture, volume, impact and range.

Understood the art and principles of effective performance.

Developed vocal mechanics in the context of all Film Music styles and Carnatic music – the basic gamakas, correct methods
of singing in akaaram, phrasing, sangatis and brigas.

Acquired command over Ata tala varnams and complex keertanams and Alapanai, Niraval, Kalpana Swaram in accordance
with his / her capacity and aspiration.

Understood and experienced the ethos and character of raga.

Acquired a variety of thalams and computational skills and techniques.


Artium Trainer Are Musicians
who have the talent to become stars but have chosen to dedicate their time to spreading

the knowledge of music, developing students and helping them achieve their dreams.

The Artium Trainer’s Role and Responsibilities

Understand Artium Pedagogical


Make the learner understand the Principles

Principles, and Apply them thoroughly – transform his mindset

Empower the student to be a partner in

the development process Be a performer


Be a learner, committed to constant

self development Be an intellectual leader

Diagnose the student’s aptitude, goals,

aspirations, gap between aptitude &

Be a performance coach aspirations, mindset & psyche


Take responsibility for results Lead by example

Inspire, motivate Customize, create


The Knowledge and Skill Profile of an Artium Trainer
Artium trainers are excellent PERFORMERS who can
Teach students the art and science of performanc
Demonstrate to a student how a song is actually to be rendered professionally

Atrium teachers are all trained in Classical Music (either Hindustani Classical or Carnatic) and
are well versed in all the technicalities of swara, raga, tala, varieties of compositions and improvisation.
They are fully equipped with all the knowledge of exercises and methods that will enable students to grow in musical
literacy, knowledge and repertoire.

Our teachers are trained in the Science of Mentorship, which goes beyond just teaching. They are trained in
Diagnosis, analysis, talent profilin
Visualisation of how far a student can develop according to his talen
Goal settin
Soft skills, including communication, interaction, connectivity, empathy
WHAT SPECIAL PART DO YOU NEED TO PLAY TO MAKE THE BEST OF THIS GREAT

OPPORTUNITY?

You need to study the entire course structure (Ref Page 18) and understand all the principles and content of the
course. That is very necessary for you to understand how the process works for the student.

You need to study the Voice Science videos that are available in your dashboard and get your teacher’s guidance on
them as required.

Make sure you understand the following voice concepts with the help and guidance of your teacher,

Propulsion

Natural Gamaka and Circular Phrasing

Relationship of Propulsion with Pitch

Phrase and Phrasing

Vertical Piano

Nasal Airflow

From these videos you will understand the principle of natural vocal development,

which necessitates that you start with simple songs


and only after attaining vocal efficiency in them should you gradually move, step by step to more complex songs.
THE UNIQUE ARTIUM PEDAGOGY

You should understand the following pedagogical concepts of Artium

Why Artium has developed a special course for Film Music Training

There is no recognised and accepted training system for non classical music in India e.g. film music.

Any film music aspirant goes only to a classical teacher, if he / she wishes to ‘learn’ music.

Classical music training has many valuable aspects to offer

ease and expertise in recognizing and singing notes and scales

enabling the mind and voice in a variety of mechanics from Sangati to brigas

acquiring a sense of taal, understanding basic cycles

and, most of all, improvisational ability and tools in melody and rhythm

But the methods of training are designed to groom a talent into a classical performer.

Many aspects and a lot of content of the training are not only redundant for non-classical aspirations,

they can actually mould the voice and faculties in directions unsuitable to light singing.

Artium has created systems of training for all forms and genres of Indian music, drawing from classical

music, voice science, analysis of light music and musicians’ styles, and performance science.
Curriculum vs Process

V/S

A syllabus is a set of lessons that are designed to deliver knowledge about a subject to a student.

A Process is a method to deliver SKILLS – to MAKE THE STUDENT INTO THE BEST PERFORMER HE IS CAPABLE OF BEING.

SIMPLY FINISHING A SYLLABUS (PORTIONS ASSIGNED FOR EVERY CLASS) WILL NOT ACHIEVE DESIRED RESULTS IN SKILLS.

Artium HAS CREATED PROCESSES TO ENABLE STUDENTS BECOME THE BEST PERFORMERS THEY CAN BE.
Skill Development vs Knowledge Acquisition
Music, singing, instrument playing, performing compositions, improvising, composing – all are SKILLS. A skill is the ability to
deliver a complex action with competence and effectiveness. A skill is related to our faculties and talents – mental and
physical.
Knowledge is knowing, understanding facts and concepts about any aspect of the Universe. We can have knowledge about
a skill, we can have knowledge that can help us enhance our skill. But knowledge is not skill.

At Artium, WE WANT STUDENTS TO DEVELOP THEIR MUSICAL SKILLS TO THE BEST EXTENT POSSIBLE – TO BECOME THE BEST
PERFORMERS OF MUSIC THAT THEY CAN BE.
Experiential Learning vs Deconstructed Learning
Art is an experience. Music, painting, sculpture, dance are all thrilling experiences for the human mind and heart. Our
education in these arts begins at

Listening to music and enjoying it Watching dance and being thrilled by it Seeing painting and sculpture and

be awed by their beauty


Without this level of experience, no learning can happen.
In the Experiential method of music training, the student’s taste for songs is developed first and then music is broken down
into coachable units.
Directly training from coachable units is called the Deconstructed Learning method and is like trying to learn a new
language from alphabets.
Development & Learner Responsibility vs Teaching & Teacher Dependence

All great artists have developed to their stardom and expertise by going beyond what they have learned – by
listening, thinking, enquiring, analysing, experimenting and – taking full responsibility for their own growth.
A student has to understand the concept of development beyond the benefit of lessons.
At Artium our teachers are trained to be developers and mentors, not just teachers. We expect our students to
understand this concept.
Learner centricity vs Subject Centricity

Learner Centricity in Art Training and Development is the principle of recognizing the individuality and character of
each learner and developing him or her accordingly. In Subject Centric Training in Art, the student is expected to
completely mould himself / herself into the character of the art or style of the trainer.

In Artium we have adopted the principle of Learner Centricity.

For us, each student is a special individual who has an individual potential and growth path.
Tamil POPULAR & FILM MUSIC
Preparatory - OVERVIEW
For those who don’t have the natural ability to sing notes correctly, a teacher has tointroduce the very idea of note identity,
location, reproduction and sequencing to a learnerand enable the student to sing even a simple song in shruthi with
awareness and precision.In the Preparatory process, the teacher will inculcate basic swara and tala skills in thestudent
through exercises and simple songs.

VOICE TRAINING
The curriculum is delivered in combination with Scientific Voice Development. Teachers aretrained in the concepts and
principles of Frederick Husler, adapted to the needs of IndianMusic by Ananth Vaidyanathan.The human voice is naturally a
singing voice, irrespective of musical talent. Musical tone andskills are innate potentials of the human voice. The voice is
developed by activating it’spotential nature through simple songs and allowing it grow easily and naturally along a path of
increasing musical complexities.

CURRICULUM
Aligning voice with swaras
Basic swaras, swara patterns and exercises
Simple talas
Simple songs to enable application and practice of fundamental music sense
intermediate - OVERVIEW
Each session of the Intermediate Film Music Course is designed in two parts – Carnatic musicand Film Music. Students will
learn in-depth Carnatic Music from Sarali Varisai to Adi TalaVarnams and simple Kritis.

Film music training will be delivered in the styles and singing techniques of simple fast songs,peppy Western songs, folk
songs, basic classical film songs, and melodies – through acombination of song training, voice training and performance
training.Performance is the sole purpose of singing and the trigger of vocal potential. Performanceculture is inculcated into
the student from the very first lesson.

VOICE TRAINING
The curriculum is delivered in combination with Scientific Voice Development. Teachers aretrained in the concepts and
principles of Frederick Husler, adapted to the needs of IndianMusic by Ananth Vaidyanathan.

The human voice is naturally a singing voice, irrespective of musical talent. Musical tone andskills are innate potentials of the
human voice. The voice is developed by activating it’spotential nature through simple songs and allowing it grow easily and
naturally along a pathof increasing musical complexities.
Part A : Carnatic Music Training
Saralivarisai, Dhaatu Varisai, Echusthayi and Thaggusthayi varisai.

Geethams, Swarajathis, Simple Kritis.

SESSIONs Repertoire Features BENEFITS

1 to 3 Sarali Varisai Simple ascent descent swara exercises Swara location


Swara recognition
Gamaka activation
Tala sense and knowledge
Voice moulding

4 to 6 Simple Dhaattu
Simple permutations Activation of swara patternmaking ability
Varisais

7 to 15 Geethams Simple compositions Inculcation of the compositional experience and

sense of Carnatic music.


It is advisable to develop the song sense along with

swara and tala skills.


SESSIONs Repertoire Features BENEFITS

10 to 12 Ecchusthayi
Swara exercises extending into
Development of higher range in voice
Varisai (along
upper (tara)octave
with Geethams)

13 to 15 Thaggusthayi
Swara exercises extending into lower
Development of lower range in voice
Varisai (along
(mandra)octave
with Geethams)

16 & 17 Alankarams Swara progressions in Seven Suladi Talas Tala repertoire, knowledge and skill

Rhythmic skill and command

18 TO 20 Simple
Compositions of Syama Shastri more
Raga sense, advanced gamaka and

Swarajatis complex than Geethams compositional sense, voice development

21 TO 24 Simple Kritis Kritis are the essential concert repertoire


Musical and vocal familiarity with, and

of Carnatic Music reasonable expertise in the chief concert

style of composition and it's features


Part B: Film Song Training with Voice Training and Performance Training

Sessions SONG LEVEL FEATURES BENEFITS EXAMPLES

1 to 3 Level 1 Limited range, Medium


Erection of vocal apparatus Madai thiranthu
paced, Limited details,

Activation of singing tone and natural


Oho meghamvan-

Energetic-requiring

mechanics sense thatho


good throw and volume
Uyirin Uyire

2 to 6 Level 2 Full range, Medium paced,


Activation of Tone and Mechanics will extend
Oruthi melemee-

energetic,requiring good
into the full range of the voice ndum
throw and volume
Range extension without tonal compromise
Kalakalamagav-

azhum

3 to 9 Level 3 Energetic, Medium paced,


Activation of gamakas andsangatis Ennai thottu

Details,Folk based gamakas alliKonda


Kuyil pattuvanth-

athenna
Rasave unnaivida

matten
Sessions SONG LEVEL FEATURES BENEFITS EXAMPLES

10 to 13 Level 4 Simple melodies Understanding and applying high propulsion


Natham enjeevane
with controlled volume – the secret of melody

Rasave unnanaan

singing ennithaan

Malligai enmannan

Unakennairuppen

14 to 18 Level 5 Complex melodies Extending melodic skill to more complex


Azhagumalaranada
songs. Learning the art of executing details.
Thogai ilamayil

Nada vinodangal

19 to 24 Level 6 Iconic hits Reinforcement of skills, concepts learned


Ethotho ennamva-

so far. larthen
Itho itho enpallavi
Development of repertoire.
Ammadi ammadi
Moving from technique to the state of

phenomenon. Elangathuveesuthe
KURAKKURALLIKERE
Advanced - OVERVIEW
The Advanced Film Music Course is an intensive 48 session program that will enable alearner to achieve the skills of a
competent, full-fledged film music playback singer or stagesinger. Firstly, Carnatic Music training extends into Ata Thala
Varnams, advanced Kritis of theTrinity and other composers and most importantly, manodharma – improvisation –
alapanai,niraval and Kalpana swaram.

This training in Carnatic music amalgamates with intensive training in the styles andtechniques of complex Film music,
Popular Music and Fusion. The range of styles includecomplex ghazal based melodies, Bhavageete, complex classical film
compositions,challenging songs etc. The training is delivered through a combination of song training, voicetraining and
performance training.

VOICE TRAINING
The curriculum is delivered in combination with Scientific Voice Development. Teachers aretrained in the concepts and
principles of Frederick Husler, adapted to the needs of Indian Music by Ananth Vaidyanathan.

The human voice is naturally a singing voice, irrespective of musical talent. Musical tone and skills are innate potentials of the
human voice. The voice is developed by activating it’s potential nature through simple songs and allowing it grow easily and
naturally along a path of increasing musical complexities.
Part A : Carnatic Music Training
Complex Dhaattu Varisais, Jhanta Varisais, Adi Tala and Atha Tala Varnams

Keertanams of Trinity and other major composers, Raga Alapana, Niravaland KalpanaSwaram

SESSIONs Repertoire Features BENEFITS

1 to 6 Advanced
Swara exercises with Complex
Swara dexterity
DhaattuVarisai permutations Swara intimacy and command
Ability to recognizeand create complex swara

patterns

Development of vocal mechanics and dexterity

7 to 12 Jhanta Varisai Swara exercises with double note


Activation of deeper gamakas in the voice
patterns Vocal dexterity in brigas and sangatis

13 to 48 Adi Tala and Ata


Compositions of high pedagogical
Development of vocal dexterity in vowels
TalaVarnams and concert value – limited consonants
Complex swara and rhythmic patterns
in lyrics and elaborate swara patterns
SESSIONs Repertoire Features BENEFITS

1 to 48 Simple to
These are the main concert repertoire
Repertoire required to give a professional Carnatic

Advanced
of Carnatic Music. Compositions of the
concert

Keethanams will
Trinity and other major composers will
Imbibing musical values of a variety of composers
be taught
betaught
Raga and Tala repertoire and command
throughout the

course

19 TO 48 Basic alapana,
Improvisation in raga, with lyrics within
Improvisation is the soul of Indian classical music.

Niravaland
the tala framework and with swaras The studentwill develop into aCarnatic concert

artist depending on his aptitude and sense of

Kalpana Swaram
application.
Part B : FILM Music

Sessions SONG LEVEL FEATURES BENEFITS EXAMPLES

1 to 8 Level 7 Bhavageete (non - film) This beautiful and complex contribution


Kanna varuvaya
of Kannada music to India is a pedagogi

Malargalemalargale
cal goldmine –through which the student

can develop the sense of detailing and


Uyire uyire
melodic aesthetics.
Meghamemeghame

Ragangalpathinaru

9 to 16 Level 8 Simple ragabased melodies An introduction to the conceptual world and


Saa Ray Gaa May
experience of raga with awareness. Aila Aila
Adiye(Kadal)
Mama Mappilai

17 to 24 Level 9 Challenging Songs This unique contribution offilm composers to


Mannavanvantha-

Indian music pushes the musical and


nadi
vocal envelope of the singer and learner Madhaviponmayilal
Sessions SONG LEVEL FEATURES BENEFITS EXAMPLES

25 to 32 Level 10 Advanced classical songs The practice of advanced and complex


Songs ofAR Rahman

classical film songs develops the classical


Anirudh Imman

sensibilities, skill sand vocal prowess of


Harish jayaraj

students Yuvan Shankar

raja

GV prakash

Santhosh

narayanan

33 to 40 Level 11 Creativity,Improvisation Student will be able handle fusion music,


Film Songs performed

creative experiments on stage and in


and blended with

other genres by

own creations
mixing the

corresponding

components from

them in a creative

and professional

manner

41 to 48 Level 12 Film and Non Film songs


Expertise in a wide variety of film composition

from other languages


styles across regional film industries.

Creating a Personal Style


Candidate will develop an individual identity

and Specialization as a musician and performer – and can move

to create his own niche.


The GOLD Standard in Music Education

You might also like