Learners’ perspectives on music training in institutions of North India

Abstract

This study explores learners’ perspectives on the prevalent pedagogy being followed in an institutionalized setup in teaching Hindustani music; their preferences for learning (one to one, one to many, etc.) and the importance of riāz to them; the dynamics of teacher–student relationship; and the factors contributing to their creative music making. One hundred music students (from four music institutions) receiving training in Hindustani music at different academic career levels in an institutionalized setup, completed a survey on the above-mentioned themes. Students reported that teachers across all the institutions generally followed the prescribed syllabus but that some of them tried to manage the syllabus as per the students’ potential. At higher levels of training, findings indicated that teachers started giving training in their own style or in their guru’s style. During the initial years of training, according to the students, teachers emphasized imitation. Results show that over the years, students developed preferences in terms of mode of music learning and method of music practice. As they progressed through training, students became more open to teachers’ critical evaluations and comments. Despite the fact that institutions do follow a rigid curriculum for music education, which is contrary to guru–shishya tradition, it appeared that institutionalized music training is not exclusively a typical learning system.

The piano pedagogy scenes in India and the Philippines: An introductory cross-cultural comparison

“…Learner preferences of students studying Hindustani music in North India were studied by Upadhyay and Dalal (2017). It was an unusual setting, since the teachers were following a prescribed syllabus for instruction.…”

“…The authors noted that the guru-shishya approach is considered traditional in India; however, it may serve as an excellent model for contemporary instruction in the West, as educators are now trying to steer away from purely didactic methods. They stated, “a guru ’s role is directive but at the same time interactive, rooted in negotiation” (Upadhyay & Dalal, 2017, p. 510).…”

“…Also, students and parents in both countries do not expect that repertoire native to their homelands will be included in their piano studies. As outlined in the papers by Campbell (2001) and Upadhyay and Dalal (2017), the learning approaches and pedagogical practices associated with learning to play instruments native to these countries may foster a more interactive relationship between teacher and student than traditional Western music study. By referring to their own native traditions of music learning, teachers in India and the Philippines may gain a heightened awareness regarding how they instruct at the piano.…”