Gandharva Mahavidyalaya 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 Digamber 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 institution was relocated to Mumbai after 1947 and has subsequently established its administrative office at Miraj, Sangli District, Maharashtra.
Gandharva Mahavidyalaya, New Delhi was established in 1939 by Padma Shri Pt. Vinaychandra Maudgalaya, noted performer from the Gwalior gharana. Today it is the oldest music school in Delhi and is headed by noted Hindustani classical singer, Madhup Mudgal.[1]
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The institution imparts theoretical and practical training in the following branches of music and dance -
(1) Hindustani Music: Vocal
(2) Hindustani Music Instrumental: Sitar, Bansuri (Lateral bamboo flute), Tabla, Harmonium and Violin
(3) Indian Classical Dance: Kathak, Bharatanatyam and Odissi
The courses of study followed by the Mahavidyalaya are those approved by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMV Mandal).It has nearly 1200 affiliated institutions and 800 Exam Centers across India. In 2007, the number of students enrolled exceeded 100,000, for the first time.
Gandharva Mahavidyalaya, New Delhi was established in 1939 by Padma Shri Pt. Vinaychandra Maudgalaya, from noted performer the Gwalior gharana, today it is located at Deen Dayal Upadhyaya Marg, New Delhi, where it shifted in 1972 and is headed by his son Pt. Madhup Mudgal since 1995. It has over 1,200 students and a faculty of 60 teachers. It 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.
The following Certificates / Diplomas of ABGMM are awarded to the successful students -
(1) Sangeet Praveshika (2 years course) i.e., equivalent to matriculation
(2) Sangeet Madhyama (2 years course) i.e., equivalent to senior secondary
(3) Sangeet Visharad (2 years course) i.e., equivalent to Bachelor of Music - Graduate Standard
(4) Sangeet Alankar (2 years course) i.e., equivalent to Masters of Music - Post-Graduate Standard
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 Syllabuspreliminary test. Only those who clear this test are granted admission.
Official Music Syllabus is available at Gandharva Mandal Website Information Page
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: Yaman, Bhoop, Khamaj, Des, Kafee, Bhimpalasi, Bageshri, Durga
3. Praveshika (Second year): Matric Music Knowledge of Alankars of more than four swaras including Vikrit Swara.
Additional Ragas: Alhaiya Bilawal, Kedar, Bihag, Tilak-Kamod, Asavari, Brindavani Sarang, Bhairav and Bhairavi.
Tala: Ektal Vilambit, Chautal, Dhamar, Rupak, Dugun of all Tals. Knowledge of systems of Hindustani and Karnatak 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 Shruts 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 and Dosha 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 72 Melakartas.
6. Visharad (Fifth year):
Madhya Laya Khayals with improvisations in Puriya, Vibhas,Darbari Kanhada, Puriya-Dhanashri, Todi, Lalit, Miyan Malhar.
Vilambit and Drut Khayals with improvisations in Shankara, Hamir,Kamod, Malkauns, Jaijaiwanti, Jaunpuri and Chhayanat. 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 Gat.
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) : B. Music
Madhya Laya Khayals with improvisations in Adana, Gaud Malhar, Marwa, Bahar, Hindol and Sohni; Vilambit and Drut Khayals with improvisations in Darbari, Puriya, Multani, Miyan Malhar, Puriya Dhanashri, Vasant, Lalit and Todi. 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. 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
For details of courses you may refer to 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