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HOME TUITION MUSIC CLASSES

Home tuition music classes can be a fantastic way to learn an instrument or develop musical skills in the comfort of your own space. Whether it’s piano, guitar, violin, or any other instrument, having a tutor come to your home offers several advantages:

  1. Personalized Instruction: With one-on-one attention, your tutor can tailor the lessons to your learning style and pace, helping you progress more effectively.
  2. Convenience: No need to travel to a music school or studio. Your tutor comes to you, saving time and hassle.
  3. Comfort Zone: Learning in a familiar environment can help you feel more relaxed and focused, allowing for better concentration and absorption of the material.
  4. Flexibility: You can often schedule lessons at times that suit you and your tutor, providing greater flexibility to accommodate your busy schedule.
  5. Customized Curriculum: Your tutor can design a curriculum that aligns with your goals and interests, whether you’re learning for fun or aiming for professional proficiency.

Just ensure you have a suitable space for the lessons, free from distractions and with good acoustics if possible. And don’t forget to practice regularly between sessions to make the most of your home tuition music classes!

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Indian classical music

Indian classical music

Carnatic music

Purandara Dasa (1484–1564) was a Hindu composer and musicologist who lived in Hampi of the Vijayanagara Empire.[45][46] He is considered Pithamaha (literally, “grandfather”) of the Carnatic music. Purandara Dasa was a monk and a devotee of the Hindu god Krishna (Vishnu, Vittal avatar).[45] He systematised classical Indian music theory and developed exercises for musicians to learn and perfect their art. He travelled widely sharing and teaching his ideas, and influenced numerous South Indian and Maharashtra Bhakti movement musicians.[47] These exercises, his teachings about raga, and his systematic methodology called Suladi Sapta Tala (literally, “primordial seven talas”) remains in use in contemporary times.[46][48] The efforts of Purandara Dasa in the 16th century began the Carnatic style of Indian classical music.[47]

 

Saraswati is the goddess of music and knowledge in the Indian tradition.

Carnatic music, from South India, tends to be more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakartas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. In addition, accompanists have a much larger role in Carnatic concerts than in Hindustani concerts. Today’s typical concert structure was put in place by the vocalist Ariyakudi Ramanuja Iyengar. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and Tanam (the ornamentation within a melorhythmic cycle, equivalent to the jor). This is intermixed with hymns called krithis. The pallavi or theme from the raga then follows. Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the performer’s ideology, referred to as Manodharmam.[citation needed]

Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit “hero-heroine”) themes. Tyagaraja (1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) have been the important historic scholars of Carnatic music. According to Eleanor Zelliot, Tyagaraja is known in the Carnatic tradition as one of its greatest composers, and he reverentially acknowledged the influence of Purandara Dasa.[47]

A common belief is that Carnatic music represents a more ancient and refined approach to classical music, whereas Hindustani music has evolved by external influences.[49]

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