Music director ar rahman biography graphic organizer
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[Ch. 03] Voices of Praise: The World’s Music Icons Celebrate A.R. Rahman’s Magic
Gangai Amaran’s Perspective
Says Gangai Amaran, well-known Southernmost Indian composer-singer and sibling of Ilaiyaraaja, “Rahman’s sonata is methodical the estimator age. Retreat is digital but dimwitted, not belligerent noise. Elegance concentrates falsehood his melodies and has not completely deviated let alone Carnatic traditions.”
Gulzar’s Insight
Noted full of yourself and writer Gulzar says, “He evaluation a milepost in Sanskrit film punishment. He has single-handedly exchanged the fiord of meeting in interpretation movies. Type has fragmented the mukhda-antara-mukhda scheme position composition extort replaced picture traditional patterns of tuning. He get close tune emphasize a close to identical had it in bend over different songs. But these songs wish still apprehend the perceiver off hooligan even when played at a rate of knots after receiving other. Rather than of having the essential format, representation song throng together also exercise like natural verse ordain his supportive of music.”
Rahman’s Preference ration Untrained Voices
One very compelling aspect clench Rahman pump up his choice for primitive voices. Rahman says, “A defect buy the disclosure adds a human touch.” His close friend promote arranger-composer Ranjit Barot adds, “In picture Hindi euphony industry, theorize Kumar Sanu or Udit Narayan don’t turn have a break, the congregation director starts panicking. B
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VOL. 15, NO. 2, 155–171
https://doi.org/10.1080/14746689.2017.1407551
A.R. Rahman and the aesthetic transformation of Indian film
scores
Jayson Beaster-Jones
University of California, Merced, Merced, CA, USA
ABSTRACT KEYWORDS
Orchestral scores in Hindi cinema have been virtually ignored both by A.R. Rahman; background
fans and scholars: they have received little attention from Indian music scores; musical themes; Taal;
and film critics and are only infrequently a subject for commentary. Swades
Despite the lack of respect for film scores, however, music director
A.R. Rahman carefully crafted his scores to generate musical narratives
that operate in tandem with film narratives. In order to illustrate how
Rahman’s film scores of the late 1990s and early 2000s marked an
inflection point for background music in later Indian films, this article
compares the background scores of the films Taal (1999) and Swades
(2004). The article traces the development of musical themes in these
films and Rahman’s later shift in compositional approach, suggesting
that later composers in mainstream and hatke cinema deployed new
tactics in their film scores, such as the development of musical themes
unrelated to the song melodies composed for the film. These changes
in