film Ala Vaikuntapuramlo ) , the scenario is being changed to romance instead . This particular aspect has been heavily criticized because the Carnatic Music ’ s compositions have a certain sanctity to it and it shouldn ’ t be applied in random scenarios .
2 . Some Indipop composers such as Colonial Cousins ( Hariharan and Leslie Lewis ) taken up Krishna Nee Begane Baro ( Yaman Kalyan Raag ) and made a fantastic masterpiece in fusion style . In fact , this brought more popularity towards the composition . This adaptation doesn ’ t tamper with the original theme of the composition ( devotion of Lord Krishna ) and this brilliant duo brought the universal harmony aspect to it- thereby leading to a masterpiece . Such scenarios in usage of legendary compositions is a good step .
3 . The influence of Carnatic Music on film / Indipop music is inescapable and that can be understandable . However , the lyricists go a step ahead by tampering the purity of the words used by the original composer . This has been heavily criticized by the listeners as well as music experts . In short , it is even called a horrible blasphemy . As they say , inspiration is quite different from imitation- but it cannot be used for Carnatic Music which is known as a pristine form of music . While the idea of experimentation and innovation is welcomed , it must be confined to digging into raaga experimenting and usage of contemporary and novel themes .
To conclude , adaptation of Carnatic Musical themes might be a novel idea to get into film music / Indipop / Contemporary Rock , but the inspiration must be stopped at the versatility of the melodic structure and the usage of lyrics .
Relevance of Theory in Learning Carnatic Music
The theory is an inevitable part of any learning- not just arts or sciences . In fact , every subject or learning of skill needs theoretical knowledge for sure . Carnatic Music , in particular , is very disciplined and structure when it comes to theory with elaborate scale structures and a plethora of raaga styles . The rhythm patterns in Carnatic Music are also very versatileand require the student to learn Music theory mandatorily .
Whether a vocalist or an instrumentalist , learning music theory has great advantages and an edge over the students who are not aware of it . Learning music theory leads to paced up notation reading , and perceiving a raaga through the composition ’ s structure . In the initial stages of learning , Carnatic Music Theory becomes a boon for the students to progress faster in learning and thereby become superior performers . It becomes an essential roadmap to success as a vocalist or a musician .
Until the stage of learning kritis , there is absolutely no harm in following Carnatic Theory as a guideline for learning complex compositions . It makes things easier for the student to perceive the raaga , understand the tala patterns and establish strong fundamentals in Carnatic Music as a form of music . It also makes the student progress in a swift pace from earlier swaras to complex compositions like Ata Taala Varnas and Kritis .
But the big debate begins when the transformation the student to a performer- when the musician has to think versatile ideas on presenting a composition on stage . Here ’ s when the musician needs to develop independent thought and perceive the composition ; without tampering the sanctity of the composer . This can be a big challenge because being too theoretical in approach will not help the performer to go further .
Therefore , taking the step of theory as a building block , the musician should make an own canvass of painting with his / her own understanding of knowledge will ensure greater realms of art . Theory can be a building block and an important aspect of Music , but not the only aspect that leads to eternal music .
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