Starting a Journal is NOT like starting a music company or a monthly magazine. Its out of question in my opinion. I wasnt talking about starting one for ARR specially, I meant sending an educated article on ARR to some prestigious Journal which deals with such stuff. If one really wants something specially for ARR, A newsletter will do..but there must be a team who can devote themselves to take care of its goodwill. Gopal, Vij etc are already doing a great deal here.. I dont expect them to carry another responsibility. Raghu
--- In arrahmanfans@yahoogroups.com, neena kochhar <[EMAIL PROTECTED]> wrote: > > Been reading these mails wih a lot of interest especailly as these happen to be very 'healthy' so far. Chord and Dasum weel strated and written. I would love to contribute to JA /senior members/originality discussions but will refrain for the moment. > > However just wanted to say that a Journal on ARR's music is a fantastic idea..Perhaps it could be associated with his school of music (I prefer the term Academy to school) to opened in the near future. The teachings from the ARR' Academy (shortened to: ARRA) could be 'journalised' (ARRAJ) and a section could be allocated to Fan's views/takes on ARR's music? > > Failing that or until the school opens, perhaps a magazine could be started by fans. Perhaps there is hidden talent amongst the members. arr_raghu I think you have just opened a pandora box of thoughts and hopefully some action will follow. If not then let me just say what an excellent idea.... > > arr_raghu <[EMAIL PROTECTED]> wrote: > Dasun > The writeup is beautiful. > If only we have any scientific journal of rahman's music, > we cd have published few good articles. > OR at least how about some any music journal..search if > there are any which suit our discussions in this group. > Raghu > > --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <dtdja@> wrote: > > > > > > Aesthetic Judgment (Taste) > > > > I don't have to tell you that ARR's taste is of the highest possible > kind compared with composers of all time. I mean how many composers > the world-over has ever had the privilege of being compared to the > ideal of Mozart, let alone being called one? Not even the kings of > melody of the West Richard Rogers (of The Sound of Music (59) fame) > Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago > (1965)), or even Ennio Morricone, who have written some of the most > soulful and moving music I have ever heard, have been told they are > like Mozart, at least not to my knowledge. Most music lovers, and all > great minds, Leo Tolstoy and Albert Einstein among them, have > acknowledged unanimously that Mozart's music is the most perfect and > the most universal imagined, no, let me use the word conjured, by any > human being; because imagination, to many, could still mean there's > some conscious involvement in that process of creation; perhaps, it is > still a conscious process, but it is a far superior sense of > consciousness that, by average human standards, it cannot be called > one. If anybody here has seen the Oscar-winning movie Amadeus (84) by > Milos Forman, you can see why it is so: Mozart's music, to use a > phrase Einstein once used, seems like have simply been `plucked out of > the universe'; the great scientist who adored Mozart and used to play > his Sonatas on his little violin when he wanted a break from his > scientific pursuits, says that compared to Mozart, Beethoven's music > feels `too personal, almost naked.' Tolstoy, in his polemical book > `What is Art?' destroys the kind of conscious creativity that he > believes Beethoven and the followers of the Romantic movement that he > charted, Richard Wagner, for example, brought about to Europe, > overthrowing the musical dominance of the spontaneous and universal > music of Mozart. > > > > In essence, Mozart's music and its perfection are not a result of > conscious processing, they come from a superior sense of natural > harmony and an extremely rare capability of letting go of one's self > and connecting with the universal spirit and listening to it in all > its infinite beauty. There cannot be a more fitting description of > ARR's music and how he has conjured his magical output over the years; > and it is no accident that the West would offer up their ideal for > comparison with the best the East has offered to date. That sort of > taste, a sincere kinship with the natural harmony and beauty of the > universe, with God, if you will, years in an industry cannot fade away > or dilute, and, if anything, I can confidently say that ARR's taste > has, over the years, been refined like fine old wine, and I have not > witnessed an instance where his aesthetic judgment, given the proper > opportunities, has faltered beyond identification. In his choice of > movies, directors, and lyrics, there maybe exceptions, but I will > address these in a later category. > > > > It is difficult to pin down one or two works from the 92-96 period > in which, like Rano said, beauty oozed out of every single phrase that > he weaved, but I will pick two of my favorite songs `Kannalane' from > Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR > achieves the highest form of perfection. Sometime back, I analyzed the > beauty of the song Uyirum Neeye from a conceptual viewpoint, so if > anybody is interested, let me know and I will send it to you or post > it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the > music textbooks in certain parts of the world (Canada, if I recall > correctly)! Yes, these are songs of superior beauty that they have > that universal appeal that Tolstoy hailed as the finest ingredient of > the greatest of art. > > > > What about now? What are the ARR compositions within the past 5 > years which evoke the same feelings in me? Piya Ho from Water (2005) > and Do Kadam from Meenaxi (2004) for sure are my favorites from this > period with Tere Bina from Guru not too far off. When I refer to the > perfection of these songs, I mean that I don't feel that I need to > remove any part, any phrase, any instrument, sound or note, everything > is in the right place at the right time! If anybody felt differently > about these songs, I would be curious to know which parts destroy the > perfection of these songs. I can write an essay on the song Do Kadam > and will do soon so that I can back up my feelings just like I did > with Uyirum Neeye. Do Kadam is so personal for me that I don't want to > hold it up as universal! This song symbolizes what ARR and I share in > silence without speaking a single word with each-other, but by > connecting to the same universal spirit that we both trust > wholeheartedly and by whose mysterious ways we are awed day in and day > out. The highest taste, as Immanuel Kant defines it, is always > subjective, but universal, and it will always flow from God and only > God; Not only is ARR connected with Him, he can articulate His beauty > with such ease and finesse that it brings many a tear to my eye > thinking how much of my faith I owe to ARR; Even as I share this very > personal story with you, I can feel a warm tear roll down my cheek. > Now if that's not beauty, I don't know what is. > > > > > > __________________________________________________________ > > Helping your favorite cause is as easy as instant messaging. You IM, > we give. > > http://im.live.com/Messenger/IM/Home/?source=text_hotmail_join > > > > > > > > > --------------------------------- > Sent from Yahoo! - a smarter inbox. >
