CINE SONGS
Why this topic on all on a sudden- could be a natural
response from any reader. As, my predicament would have it, daily I need to
make some topic for blog posting. With other priorities looming large, I am
caught between quality and urgency. So, it is just an ‘off the cuff’ choice as
the day’s topic. If there is something which is simultaneously appealing
and appalling, clearly, it is the cine song. Consider this; a person born in
1940s has a certain preference for voice, song structure, content and
relevance. The one born in 2000 or so has a totally different outlook to the
idea of a ‘cine song’. The later born seeks to have a bewildering cluster of
instruments -all playing different notes simultaneously. The final output of
‘sound’ passes for music for a youngster. The same ‘music’ causes anger to the
old man for its ‘robust raw nature’. Who among them is right? The other is
obviously NOT RIGHT in the perception of each other. It is the survival element
important for making cine songs in whatever era one may evaluate them!
In my understanding the item called ‘cine song’ needs a
sympathetic evaluation if we intend recognizing the intricate limitations that
govern a song ‘creation’. Yes, all said and done, every song carved out for
movie has to have contemporary appeal [however temporary the appeal is] for its
marketability. Unless the stuff ‘looks’ fresh, the participants therein –the
lyricist, the composer, the singers and the movie maker all head to a nosedive
of ‘personal popularity’. They are perpetually under pressure to ‘give’
something enjoyably different. Despite ‘taste’ –a variable has to be catered to
- a median line of common appeal has to be struck to stay in the lime light.
Perhaps the closest parallel to such a demanding situation prevails in making
tasty dishes to consumers who have varied tastes and preferences. Still, the
culinary experts stand up to the challenge and win admiration of consumers.
But, in food it is a ‘one-time’ test; but cine songs face repeat trials from listeners over and over again.
Certainly, there are tools and techniques that ensure the
‘success’ of cine songs. Two of the components of value for success of songs
relate to either melody or rhythm. Occasionally, the two elements may themselves
register a dominant presence, making the song ‘reach’ glory in short time.
Within the structure of a song, the rhythm component is manipulable, through a combination of strings/ percussion.
However, a lot has to go by way of planning for the most dexterous play of
instruments to cause a ‘telling’ effect.
Such demanding execution of novel planning and assembly of
instruments are not required for the traditional or classical music. Concerts
of classical type are more respected for their keen adherence to prescribed
pattern of reproduction for ages. Such simplistic ‘repeats’ are just ‘out of
place’ in cine music. So, to keep making songs day in and day out highly
imaginative ‘creators’ are sought after and it is no joke to keep delivering
for decades.
Prof.
K.Raman
I was born in the year1941 and my taste for cine music will be different from the present day youngsters.
ReplyDeleteI was very much attracted by songs written by Kothamangalam Subbu and songs sung by N.S.Krishnan.
Excepting a few present day cine songs have no meaning and not apt to the title of the film.
Now key board has replaced archestra and individual capacity could not be appreciated.
There is none to replace MKT&TMS
and Sushila in singing Tamil cine songs and Latha Mangeshkar & Mohamed Rafi in Hindi
K.Venkataraman