Swar Sandhya Institute of performance Art Gaur City 2 branch

Swar Sandhya Institute of performance Art Gaur City 2 branch
B-1005, 16th Ave, Gaur City 2, Greater Noida, Ghaziabad, Uttar Pradesh 201306, India
https://www.swarsandhya.com/
Swar Sandhya Institute of Performance Art – Gaur City 2 Branch

Nestled on the second floor of Gaur City Mall, Greater Noida West, the Gaur City 2 branch of Swar Sandhya Institute of Performance Art occupies a 3,000-square-foot enclave that feels miles away from the commercial bustle below. A floating timber-and-bronze staircase leads visitors up from the mall’s atrium to a reception foyer framed by an eighteen-foot glass mural of M.S. Subbulakshmi’s eyes. The space itself is deliberately acoustic: high ceilings, hexagonal wooden baffles on the ceiling scatter sound evenly, and asymmetrical cork walls absorb stray frequencies so that every note from each classroom remains crystal-clear in its own pocket yet melts sweetly into the ambient vestibule.

Six individual studios line the corridor behind double-glazed doors emblazoned with ragam names in Devanagari calligraphy: Yaman, Bhairavi, Hamsadhwani, Megh, Bageshri, and Durga. Each studio is 180–220 sq ft, climate-controlled between 23–25 °C, and fitted with a Nord Stage-3 piano, a custom-tuned tanpura app synchronized over Wi-Fi, and overhead condensers feeding directly into a central multitrack workstation. Parents and visitors can observe lessons discreetly through one-way mirrored panels. In the larger, 400 sq ft ensemble hall at the far end, bamboo flooring rests on neoprene shock pads so that tabla bol resonate clearly without disturbing the adjoining units; twenty fold-away ceiling panels can create variable acoustics suitable for khayal, qawwali or film-score projects.

Beyond classrooms, the institute features a collaborative study lounge stocked with rare LP records, a digitized 800-track raga repository streaming over lossless FLAC, and a mural timeline that chronicles the evolution of Indian music from 3000 BCE vinyl etchings to today’s AI-generated ragas. Weekly free “Coffee Concertos” are held Fridays at 7 p.m. in the ensemble hall: fifteen minutes of open-mic followed by a forty-five-minute mentor recital with live captioning in three languages. A 250-seat rooftop amphitheater cantilevering above the mall hosts monthly “Swar Sandhya Live,” attracting maestros such as Kaushiki Chakraborty and Taufiq Qureshi to exchange taans and taals with neighborhood citizens under the stars.

Faculty credentials are formidable: five Sangeet Natak Akademi awardees, three Gandharva Mahavidyalaya senior examiners, and Berklee-trained contemporary composers who bridge Hindustani microtones with global jazz. Courses range from foundational Hindustani vocal and Carnatic violin to niche electives like Live Looping for Allaap and Film-Music Arrangement using Cubase. For younger learners, a rhythmic playroom equipped with Orff instruments converts group clapping into tala cycles projected on an LED floor.

Unlike most franchise-driven academies, Swar Sandhya operates on an inclusive scholarship program: every fourth seat is reserved for under-resourced but talented candidates funded by 10 per cent of overall tuition revenue. Timings stretch from 9 a.m. to 9 p.m. on weekdays and 10 a.m. to 7 p.m. on weekends, making it possible for corporate employees to squeeze in taan practice before PowerPoint deadlines. With its fusion of ancestral depth, state-of-the-art mechanics and fierce community ethic, Swar Sandhya Institute isn’t merely a music school—rather, it’s a living raga in the concrete heart of Greater Noida West.

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