Topic suggested by Murali Sankar/Swarapriyan on Tue Oct 13 12:11:55 .
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In this thread I propose to discuss various facets of Music. This shall indeed cross the barriers of Language, but shall always be done against the backdrop of TFM. In this thread we shall discuss the expressive brilliance of Western Classical,lyrical elegance of Cine music,unsophisticated form of folk music,spiritual depth of Indian Classical and a lot more.. Discussions like Tagore's and Einsteins' views may find this thread a suitable place. This shall also discuss at length the poetic elgance of the various lyricists notable among them being Kannadhasan,Vaali and Vairamuthu. I conceive that this thread explains what a song or the music tries to express rather than the technical details of the song themselves. Articles on what greats have felt about Music can also find this a good fit. |
Responses:
- From: Murali Sankar (@ 129.252.23.229)
on: Sat Oct 17 21:34:56
Dear TFM fans,
Let me place some of my humble views. The very definition of music can be stated as:
"The natural expression of emotions through a well balanced homogeneous mixture of selected frequencies following one after the other in a rhythmic pattern that transcends all barriers of humanity only to elevate it to the the status of divinity."
The "Naadha brahma swaroopa" description of almighty stems from this definition only. The principal similarity in the Western Classical approach and that of Indian Classical is that both try to express "Love". But the difference lies in the goal that they try to reach. When most of WC is based on love between two human forms(materialistic), IC stresses on the relation between the human and spiritual forms( non - materialistic). At this juncture let me clarify one point : I am not saying that WC is not at all spiritual,but that most of the compositions are based on Romance. It is this that in the opinion of our IC musicians which makes IC superior. This has misled them to the "Holier than thou" attitude. Any anyaswaraprayoga is seriously scorned at. By remaining in the closet they have refused to take the necessary elements of harmony from the WC. To a hard core IC musician who had not previously heard any of the Mozart or Beethoven compositions they appear to be a string of anyaswaras in a particular raga without much hold on thala. For a WC musician , similarly the IC seems to be a formless one with every artist singing it his own way. He wonders if there can be any music without harmony.
But take the case of an open listener. A commoner set in the village shall definitely not appreciate the vocal nuances of IC artist. For him the WC orchestration seems to be too monotonous and repetitive with the violins flowing along with others in an ununderstandable fashion. It is at this time that the break down of conventions come into picture. It is at this point that IR enters the scene with his own fusion style of music which pleases every commoner apart from the Classical gurus- both WC and IC. It is at this juncture that POP hits west. The commoner rejoices, but the WC classical gurus are utterly displeased with this eruption of this New form. Music - something to which only the knowledgeable had the access, became a commoner's routine method of relaxation.
Finally I want to stress that we be open to all forms of Music. The greatest asset of IC is the complicated lead notes and that of WC is the orchestration. Hence any attempt to fuse both must be done by acomposer accomplished with a good knowledge in both.
regards
Murali Sankar
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