ODE TO NATA ASPIRANTS

                                 ODE TO NATA ASPIRANTS    

                                           CAMELLIA PAUL

   

The National Aptitude Test in Architecture (NATA) measures the aptitude of the applicant for specific field of study, i.e. Architecture. The test measures drawing and observation skills, sense of proportion, aesthetic sensitivity and critical thinking ability, that have been acquired over a long period of time, and that are related to the study of Architecture.

Official website: http://www.nata.in/2014/

Every year, thousands of students, across the country sit for the NATA, in order to pursue Bachelor of Architecture (B.Arch) as their higher field of study.

   I myself, a B.Arch aspirant, know very well how different NATA is, from the other entrance exams. NATA requires special preparation and tutorials, as well as proper guidance in the field.

   Without wasting time, let me supply a few model test-papers, study materials, previous years' NATA questions, and as well as my own NATA drawings...that will surely come handy to any NATA aspirant.

Before starting, make sure you all download and carefully go through the NATA Brochure...

NATA Brochure 2014


After going through this, start your preparations for NATA. Here are some useful links:

• NATA Aptitude Sample Paper 1
• NATA Aptitude Sample Paper 2
• NATA Aptitude Sample Paper 3
• NATA Drawing Sample Paper 1
• NATA Drawing Sample Paper 2
• NATA Drawing Sample Paper 3
• NATA Study Material

Apart from these, I would also like to share some of the sample drawings which I practised during my NATA preparations.

1. Create an interesting composition using 8 equilateral triangles of different sizes.

 

2. Design a logo for the T-shirts to be worn by the volunteers for an INTER-COLLEGE CULTURAL FEST. (NATA 2014)

3. Imagine yourself standing inside a pencil-box containing 2 pencils, 1 fountain pen, 1 compass, 1 eraser, 1 sharpener and 1 piece of paper, with its lid open.

4. Create an interesting composition using the basic shapes of a protractor, ruler and a set-square. You may use any numbers of shapes and of variant sizes. Colour using any 4 colours.

5. Create a composition using 3 glass bottles and 2 earthen pots, showing the effects of light and shade. (NATA 2014)

6. Sketch a tree using circles, triangles, rectangles and squares. You may use any numbers and sizes.

7. Create an interesting composition using 2 circles, 2 rectangles, 1 triangle and 3 straight lines. Colour with any 2 primary colours and 1 secondary colour.

8. Create a composition using bananas, apple, orange and papaya of variant sizes and numbers. Colour with light, yet bright colour combination.

9. Complete the lateral side of the image (right side completed) and colour using any 4 colours.

10. Create an interesting composition using 5 Peepal leaves and colour with light colour combination.

Hope this article was useful to you, all the best for NATA!

You can mail your NATA/B.Arch-related queries to casperpeace@gmail.com

The Need for Swaralipi (Notation) Study

                             

                                Suvo Guha Thakurta

                          Translated by Camellia Paul

Introduction: What is Swaralipi?

Before exploring the need for studying Swaralipi (notations), it is essential to understand what Swaralipi is. In the realm of music, Swaralipi refers to the method of inscribing musical notes using specific, predefined, and meaningful symbols. These symbols are used to associate the notes with particular taals or rhythms, creating a structured framework for a tune. Swaralipi serves as a written representation of music, enabling its preservation and accurate rendition.

Preservation and Prevention of Distortion of Tunes

The importance of studying notations lies primarily in their role in preserving a song’s original tune and preventing distortion. Historically, Indian music has been transmitted orally through the guru-shishya parampara (teacher-student tradition). While this tradition enriched Indian music over generations, it also carried the risk of distortion due to several factors.

First, memory limitations make it challenging for students to retain every detail of a learned song. Second, prolonged lack of practice by both teachers and students contributes to errors. Third, inadequate education in music theory and wilful alterations by artists further distort tunes.

By mastering the study and application of notations, such distortions can be avoided, allowing the original compositions to remain intact over time. For teachers, a strong understanding of notations enables them to teach a wide variety of songs accurately. Similarly, students benefit from learning and practicing with notations, ensuring precise performance of the songs they learn.

In Western and modern Eastern traditions, notation-reading is considered an essential exercise for developing accurate vocal skills. Moreover, even if a song is forgotten or hidden from the public for a long time, its lost tunes can often be recovered using its notations. Notations also play a critical role in transmitting authentic melodies across generations and international boundaries.

Historically, the absence of a systematic notation method led to the extinction or alteration of many ancient Indian musical compositions. However, the introduction of various notation systems has addressed this issue. For instance, Pandit Vishnu Narayan Bhatkhande’s Koshi-Matrik Swaralipi helped preserve the structure of ancient bandish compositions in classical music. Similarly, Rabindranath Tagore’s songs, written in the Akaar-Matrik Swaralipi developed by Jyotirindranath Tagore, continue to meet the needs of music lovers and learners to this day.

Different notation methods employ unique symbols to denote the duration of notes. For example:

• In the Koshi-Matrik system by Pandit Bhatkhande, the duration of a note is represented by a boat-shaped (koshi) symbol.
• The Danda-Matrik system, introduced by Khetramohan Goswami, uses vertical bars (danda) above notes to indicate their duration.
• Sarala Devi’s Sankha-Matrik Swaralipi employs numerical digits to represent note duration in matras.
• The Akaar-Matrik system uses the symbol ‘া’ to denote one matra.

Notations: A Framework, Not Absolute Music

While notations are essential, it is important to recognise that they represent only the framework of a tune, not the complete essence of music. The soul of music lies beyond written symbols, in its presentation and emotional expression. A singer must not only master the notations, but also grasp the gayaki (the delivery and style of rendition), understand the poetry’s intrinsic meaning, and perform with proper pronunciation, voice modulation, and emotional expression. 

True musical artistry allows the audience to connect deeply with the performance, transcending the boundaries of notations. This principle applies not only to Indian music, but also to Western classical music, where variations in interpretation occur even when the same notations are used by different conductors. Similar to how a screenplay can be given distinct artistic expressions by different directors, music gains depth and uniqueness through individual renditions.

Notation-study from the Perspective of a Rabindrasangeet Student

Rabindranath Tagore was strongly opposed to the distortion of his compositions. In a conversation with Dilip Kumar Roy, he lamented:

"Every day, I hear such distortions of my songs that I fear they may lose their intrinsic essence. I do not wish to perpetuate this grief."

Even at a young age, Tagore criticised the lack of proper notation systems in India. Writing in the magazine Bharati (Bengali year 1288, Magh edition), he remarked:

"Our country lacks a good notation system. The names of ragas and raginis serve as incomplete notations. Yet, I see no reason not to embrace complete enjoyment despite this incompleteness. Adopting English notations or creating a new system could address this gap."

Tagore advocated for teaching notations to students in Santiniketan. In a letter dated August 30, 1920, to his student Anadikumar Dastidar, he wrote:

"Learn the notations with special care. You must practice them to the extent that you can sing a song just by reading its notation, as effortlessly as reading a book. Many people in this country are capable of doing so—it’s only a matter of practice. ...You can also learn the staff notation of English music from Dinu. It is the best notation, and it will be essential for introducing Indian music to the world."

As documented in Jatrapather Anandagaan by Shailajaranjan Majumdar, Tagore advised teaching notations to students so that they could read them fluently, akin to reading a letter.

Notations serve as the primary means to preserve the authentic melodies of Rabindrasangeet. Without their proper study and application, the unique tunes created by Tagore risk fading into obscurity. Rabindrasangeet represents the cultural identity of Bengalis and Indians on the global stage. Therefore, preserving its original form is a responsibility that every artist, teacher, and student of Rabindrasangeet must embrace. Mastery of notations is the only reliable way to fulfill this duty, ensuring the enduring legacy of Tagore’s music. 

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