Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
location in the group so that > > > > fans > > > > can read it at their leisure. I would love to have Swapnil's musical > > > > reviews > > > > in one place if possible too. As I always experience at work, good ideas > > > > just come and go because we don't store them in anything else, but > > > > emails, > > > > which are really hard to manage. > > > > > > > > Neena and Raghu: I think above, I answered your interests and > > > > concerns regarding the request to start our own journal on ARR's music. > > > > Yes, > > > > Gops is already doing so much for this group and we can't ask any more > > > > of > > > > him. I think we just need to organize our resources already flowing > > > > through > > > > this forum and make them easily available and accessible to the > > > > thousands of > > > > fans who are a part of this group. I'm sure that would be something we > > > > can > > > > do fairly easily. > > > > > > > > Gomzy: I think your point is fair regarding the lack of originality, > > > > but I used the word in the sense of innovativativeness more than > > > > genuineness. I doubt I will ever have to question ARR's sincerity. > > > > > > > > Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, > > > > Durbha and all: thank you again for your kind comments, they'll help me > > > > stay > > > > motivated to write more of these, and before that, finish this one! :) > > > > > > > > Like some director once said (forget who exactly it was), ARR is > > > > like an ocean..so calm and so deep. If we can explore how much > > > > creativity is > > > > conjured up by him in those moments of spontaneous revelation, which I > > > > feel > > > > is what he experiences, we can grow a little deeper than we are now, > > > > achieve > > > > a little more awareness of ourselves and the world around us. If I can > > > > help > > > > in that quest by writing these articles, then that will be my gift to > > > > ARR. > > > > > > > > Take care and thanks again, > > > > Dasun > > > > > > > > > > > > -- > > > > To: arrahmanfans@yahoogroups.com > > > > From: [EMAIL PROTECTED] > > > > Date: Tue, 29 Jan 2008 12:41:40 + > > > > Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic > > > > Judgment > > > > > > > > So well and rightly said. It was a sheer bliss reading your > > > > write-up! > > > > Thank you so much for this wonderul post. > > > > > > > > --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL > > > > PROTECTED]> > > > > 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: >
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
ould of course have to buy the journal which again will generate
income. He is an international figure and I am confident that people outside
India would read and subscribe to the journal.
I don't expect any one in this group to write this journal but I just
wondered and wanted that perhaps those who are close to ARR suggest it to ARR
and let him decide. His Music school is no mean feat and documentation
survives the test of times. A journal on these lines will/could immortalise
the teachings and open door to musical knowledge.
Perhaps I am being naive here but as I not in India I don't know if such
journals already exist and if they do how well do they do.
I hope what I have written makes more sense now after this brief explanation
above.
Keep up the good work.
Regards
Neena
Dasun Abeysekera <[EMAIL PROTECTED]> wrote:
Dear Rahmaniacs,
First of all, let me say I'm humbled by all the wonderful responses you have
sent. I have saved each and every one of them and thought I'd use one email to
respond to all of you.
Anand: Yes, being in touch with your own spirit and its connectivity to all of
life is the key to reaching higher consciousness - it is really about
self-awareness. There is so much beauty to be experienced at each higher level
and we need profound minds like Mozart and ARR, who push us subconsciously
through their music and Einstein and Tolstoy, who illuminate the true nature of
our universe and humanity to help us reach those levels consciously.
Dinesh: I will try to post some of my feelings on ARR and his music in the
future as and when I find the time. I have always been grateful to Gopal and
this forum, which when I joined had less than 200 fans, for giving me the
opportunity to share the wealth of feelings that ARR had inculcated in me
through his music first, then through his personality and thoughts. I'm happy
to have woken you up from your slumber: as Kailash Kher says - Jaago! :)
Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. Since
there are so many new members here, I will re-post it. Perhaps, I need to load
articles like these in a shared location in the group so that fans can read it
at their leisure. I would love to have Swapnil's musical reviews in one place
if possible too. As I always experience at work, good ideas just come and go
because we don't store them in anything else, but emails, which are really hard
to manage.
Neena and Raghu: I think above, I answered your interests and concerns
regarding the request to start our own journal on ARR's music. Yes, Gops is
already doing so much for this group and we can't ask any more of him. I think
we just need to organize our resources already flowing through this forum and
make them easily available and accessible to the thousands of fans who are a
part of this group. I'm sure that would be something we can do fairly easily.
Gomzy: I think your point is fair regarding the lack of originality, but I used
the word in the sense of innovativativeness more than genuineness. I doubt I
will ever have to question ARR's sincerity.
Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha and all:
thank you again for your kind comments, they'll help me stay motivated to write
more of these, and before that, finish this one! :)
Like some director once said (forget who exactly it was), ARR is like an
ocean..so calm and so deep. If we can explore how much creativity is conjured
up by him in those moments of spontaneous revelation, which I feel is what he
experiences, we can grow a little deeper than we are now, achieve a little more
awareness of ourselves and the world around us. If I can help in that quest by
writing these articles, then that will be my gift to ARR.
Take care and thanks again,
Dasun
-------------
To: arrahmanfans@yahoogroups.com
From: [EMAIL PROTECTED]
Date: Tue, 29 Jan 2008 12:41:40 +
Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
So well and rightly said. It was a sheer bliss reading your write-up!
Thank you so much for this wonderul post.
--- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]>
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
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
software developments > > > > > > It would include a jobs section that could advertise jobs and this > > > section would generate revenue > > > > > > It will have other general advertiement section, e.g music shops, > > > intrument rpair shops... again to generate income. > > > > > > It would include information on seminars and lectures, workshops etc > > > on music which people could attend free and /or by payment depending upon > > > the nature of the talks... > > > > > > Poepe would of course have to buy the journal which again will > > > generate income. He is an international figure and I am confident that > > > people outside India would read and subscribe to the journal. > > > > > > I don't expect any one in this group to write this journal but I just > > > wondered and wanted that perhaps those who are close to ARR suggest it to > > > ARR and let him decide. His Music school is no mean feat and > > > documentation > > > survives the test of times. A journal on these lines will/could > > > immortalise > > > the teachings and open door to musical knowledge. > > > > > > Perhaps I am being naive here but as I not in India I don't know if > > > such journals already exist and if they do how well do they do. > > > > > > I hope what I have written makes more sense now after this brief > > > explanation above. > > > > > > Keep up the good work. > > > > > > Regards > > > > > > Neena > > > > > > > > > > > > > > > *Dasun Abeysekera <[EMAIL PROTECTED]>* wrote: > > > > > > Dear Rahmaniacs, > > > > > > First of all, let me say I'm humbled by all the wonderful responses > > > you have sent. I have saved each and every one of them and thought I'd use > > > one email to respond to all of you. > > > > > > Anand: Yes, being in touch with your own spirit and its connectivity > > > to all of life is the key to reaching higher consciousness - it is really > > > about self-awareness. There is so much beauty to be experienced at each > > > higher level and we need profound minds like Mozart and ARR, who push us > > > subconsciously through their music and Einstein and Tolstoy, who > > > illuminate > > > the true nature of our universe and humanity to help us reach those levels > > > consciously. > > > > > > Dinesh: I will try to post some of my feelings on ARR and his music in > > > the future as and when I find the time. I have always been grateful to > > > Gopal > > > and this forum, which when I joined had less than 200 fans, for giving me > > > the opportunity to share the wealth of feelings that ARR had inculcated in > > > me through his music first, then through his personality and thoughts. I'm > > > happy to have woken you up from your slumber: as Kailash Kher says - > > > Jaago! > > > :) > > > > > > Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. > > > Since there are so many new members here, I will re-post it. Perhaps, I > > > need > > > to load articles like these in a shared location in the group so that fans > > > can read it at their leisure. I would love to have Swapnil's musical > > > reviews > > > in one place if possible too. As I always experience at work, good ideas > > > just come and go because we don't store them in anything else, but emails, > > > which are really hard to manage. > > > > > > Neena and Raghu: I think above, I answered your interests and concerns > > > regarding the request to start our own journal on ARR's music. Yes, Gops > > > is > > > already doing so much for this group and we can't ask any more of him. I > > > think we just need to organize our resources already flowing through this > > > forum and make them easily available and accessible to the thousands of > > > fans > > > who are a part of this group. I'm sure that would be something we can do > > > fairly easily. > > > > > > Gomzy: I think your point is fair regarding the lack of originality, > > > but I used the word in the sense of innovativativeness more than > > > genuineness. I doubt I will ever have to question ARR's sincerity. > > > > > > Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha >
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
if they do how well do they do.
I hope what I have written makes more sense now after this brief explanation
above.
Keep up the good work.
Regards
Neena
Dasun Abeysekera <[EMAIL PROTECTED]> wrote:
Dear Rahmaniacs,
First of all, let me say I'm humbled by all the wonderful responses you have
sent. I have saved each and every one of them and thought I'd use one email to
respond to all of you.
Anand: Yes, being in touch with your own spirit and its connectivity to all of
life is the key to reaching higher consciousness - it is really about
self-awareness. There is so much beauty to be experienced at each higher level
and we need profound minds like Mozart and ARR, who push us subconsciously
through their music and Einstein and Tolstoy, who illuminate the true nature of
our universe and humanity to help us reach those levels consciously.
Dinesh: I will try to post some of my feelings on ARR and his music in the
future as and when I find the time. I have always been grateful to Gopal and
this forum, which when I joined had less than 200 fans, for giving me the
opportunity to share the wealth of feelings that ARR had inculcated in me
through his music first, then through his personality and thoughts. I'm happy
to have woken you up from your slumber: as Kailash Kher says - Jaago! :)
Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. Since
there are so many new members here, I will re-post it. Perhaps, I need to load
articles like these in a shared location in the group so that fans can read it
at their leisure. I would love to have Swapnil's musical reviews in one place
if possible too. As I always experience at work, good ideas just come and go
because we don't store them in anything else, but emails, which are really hard
to manage.
Neena and Raghu: I think above, I answered your interests and concerns
regarding the request to start our own journal on ARR's music. Yes, Gops is
already doing so much for this group and we can't ask any more of him. I think
we just need to organize our resources already flowing through this forum and
make them easily available and accessible to the thousands of fans who are a
part of this group. I'm sure that would be something we can do fairly easily.
Gomzy: I think your point is fair regarding the lack of originality, but I used
the word in the sense of innovativativeness more than genuineness. I doubt I
will ever have to question ARR's sincerity.
Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha and all:
thank you again for your kind comments, they'll help me stay motivated to write
more of these, and before that, finish this one! :)
Like some director once said (forget who exactly it was), ARR is like an
ocean..so calm and so deep. If we can explore how much creativity is conjured
up by him in those moments of spontaneous revelation, which I feel is what he
experiences, we can grow a little deeper than we are now, achieve a little more
awareness of ourselves and the world around us. If I can help in that quest by
writing these articles, then that will be my gift to ARR.
Take care and thanks again,
Dasun
-------------
To: arrahmanfans@yahoogroups.com
From: [EMAIL PROTECTED]
Date: Tue, 29 Jan 2008 12:41:40 +
Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
So well and rightly said. It was a sheer bliss reading your write-up!
Thank you so much for this wonderul post.
--- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]>
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:
Moza
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
: I will try to post some of my feelings on ARR and his music in the
future as and when I find the time. I have always been grateful to Gopal and
this forum, which when I joined had less than 200 fans, for giving me the
opportunity to share the wealth of feelings that ARR had inculcated in me
through his music first, then through his personality and thoughts. I'm happy
to have woken you up from your slumber: as Kailash Kher says - Jaago! :)
Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. Since
there are so many new members here, I will re-post it. Perhaps, I need to load
articles like these in a shared location in the group so that fans can read it
at their leisure. I would love to have Swapnil's musical reviews in one place
if possible too. As I always experience at work, good ideas just come and go
because we don't store them in anything else, but emails, which are really hard
to manage.
Neena and Raghu: I think above, I answered your interests and concerns
regarding the request to start our own journal on ARR's music. Yes, Gops is
already doing so much for this group and we can't ask any more of him. I think
we just need to organize our resources already flowing through this forum and
make them easily available and accessible to the thousands of fans who are a
part of this group. I'm sure that would be something we can do fairly easily.
Gomzy: I think your point is fair regarding the lack of originality, but I used
the word in the sense of innovativativeness more than genuineness. I doubt I
will ever have to question ARR's sincerity.
Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha and all:
thank you again for your kind comments, they'll help me stay motivated to write
more of these, and before that, finish this one! :)
Like some director once said (forget who exactly it was), ARR is like an
ocean..so calm and so deep. If we can explore how much creativity is conjured
up by him in those moments of spontaneous revelation, which I feel is what he
experiences, we can grow a little deeper than we are now, achieve a little more
awareness of ourselves and the world around us. If I can help in that quest by
writing these articles, then that will be my gift to ARR.
Take care and thanks again,
Dasun
-------------
To: arrahmanfans@yahoogroups.com
From: [EMAIL PROTECTED]
Date: Tue, 29 Jan 2008 12:41:40 +
Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
So well and rightly said. It was a sheer bliss reading your write-up!
Thank you so much for this wonderul post.
--- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]>
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
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
> > subconsciously through their music and Einstein and Tolstoy, who illuminate > > the true nature of our universe and humanity to help us reach those levels > > consciously. > > > > Dinesh: I will try to post some of my feelings on ARR and his music in > > the future as and when I find the time. I have always been grateful to Gopal > > and this forum, which when I joined had less than 200 fans, for giving me > > the opportunity to share the wealth of feelings that ARR had inculcated in > > me through his music first, then through his personality and thoughts. I'm > > happy to have woken you up from your slumber: as Kailash Kher says - Jaago! > > :) > > > > Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. > > Since there are so many new members here, I will re-post it. Perhaps, I need > > to load articles like these in a shared location in the group so that fans > > can read it at their leisure. I would love to have Swapnil's musical reviews > > in one place if possible too. As I always experience at work, good ideas > > just come and go because we don't store them in anything else, but emails, > > which are really hard to manage. > > > > Neena and Raghu: I think above, I answered your interests and concerns > > regarding the request to start our own journal on ARR's music. Yes, Gops is > > already doing so much for this group and we can't ask any more of him. I > > think we just need to organize our resources already flowing through this > > forum and make them easily available and accessible to the thousands of fans > > who are a part of this group. I'm sure that would be something we can do > > fairly easily. > > > > Gomzy: I think your point is fair regarding the lack of originality, but > > I used the word in the sense of innovativativeness more than genuineness. I > > doubt I will ever have to question ARR's sincerity. > > > > Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha > > and all: thank you again for your kind comments, they'll help me stay > > motivated to write more of these, and before that, finish this one! :) > > > > Like some director once said (forget who exactly it was), ARR is like an > > ocean..so calm and so deep. If we can explore how much creativity is > > conjured up by him in those moments of spontaneous revelation, which I feel > > is what he experiences, we can grow a little deeper than we are now, achieve > > a little more awareness of ourselves and the world around us. If I can help > > in that quest by writing these articles, then that will be my gift to ARR. > > > > Take care and thanks again, > > Dasun > > > > > > -- > > To: arrahmanfans@yahoogroups.com > > From: [EMAIL PROTECTED] > > Date: Tue, 29 Jan 2008 12:41:40 + > > Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic > > Judgment > > > > So well and rightly said. It was a sheer bliss reading your write-up! > > Thank you so much for this wonderul post. > > > > --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> > > 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 u
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Kailash Kher says - Jaago! > :) > > Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. Since > there are so many new members here, I will re-post it. Perhaps, I need to > load articles like these in a shared location in the group so that fans can > read it at their leisure. I would love to have Swapnil's musical reviews in > one place if possible too. As I always experience at work, good ideas just > come and go because we don't store them in anything else, but emails, which > are really hard to manage. > > Neena and Raghu: I think above, I answered your interests and concerns > regarding the request to start our own journal on ARR's music. Yes, Gops is > already doing so much for this group and we can't ask any more of him. I > think we just need to organize our resources already flowing through this > forum and make them easily available and accessible to the thousands of fans > who are a part of this group. I'm sure that would be something we can do > fairly easily. > > Gomzy: I think your point is fair regarding the lack of originality, but I > used the word in the sense of innovativativeness more than genuineness. I > doubt I will ever have to question ARR's sincerity. > > Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha and > all: thank you again for your kind comments, they'll help me stay motivated > to write more of these, and before that, finish this one! :) > > Like some director once said (forget who exactly it was), ARR is like an > ocean..so calm and so deep. If we can explore how much creativity is > conjured up by him in those moments of spontaneous revelation, which I feel > is what he experiences, we can grow a little deeper than we are now, achieve > a little more awareness of ourselves and the world around us. If I can help > in that quest by writing these articles, then that will be my gift to ARR. > > Take care and thanks again, > Dasun > > > -- > To: arrahmanfans@yahoogroups.com > From: [EMAIL PROTECTED] > Date: Tue, 29 Jan 2008 12:41:40 + > Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment > > So well and rightly said. It was a sheer bliss reading your write-up! > Thank you so much for this wonderul post. > > --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> > 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
RE: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
ails, which are really hard to manage. Neena and Raghu: I think above, I answered your interests and concerns regarding the request to start our own journal on ARR's music. Yes, Gops is already doing so much for this group and we can't ask any more of him. I think we just need to organize our resources already flowing through this forum and make them easily available and accessible to the thousands of fans who are a part of this group. I'm sure that would be something we can do fairly easily. Gomzy: I think your point is fair regarding the lack of originality, but I used the word in the sense of innovativativeness more than genuineness. I doubt I will ever have to question ARR's sincerity. Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha and all: thank you again for your kind comments, they'll help me stay motivated to write more of these, and before that, finish this one! :) Like some director once said (forget who exactly it was), ARR is like an ocean..so calm and so deep. If we can explore how much creativity is conjured up by him in those moments of spontaneous revelation, which I feel is what he experiences, we can grow a little deeper than we are now, achieve a little more awareness of ourselves and the world around us. If I can help in that quest by writing these articles, then that will be my gift to ARR. Take care and thanks again, Dasun - To: arrahmanfans@yahoogroups.com From: [EMAIL PROTECTED] Date: Tue, 29 Jan 2008 12:41:40 + Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment So well and rightly said. It was a sheer bliss reading your write-up! Thank you so much for this wonderul post. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> 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 92-9
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Hey Dasun.. U've spoken our Hearts out, while touching it with ur flowery words that do, indeed praise the artist in RAHMAN in the best way. I've made a copy of ur words, for there r not many who can make another tear a happy tear for the one he loves, n u've done just that to me.. I'm touched.. Thanx.. > --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera 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
RE: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Dear Rahmaniacs, First of all, let me say I'm humbled by all the wonderful responses you have sent. I have saved each and every one of them and thought I'd use one email to respond to all of you. Anand: Yes, being in touch with your own spirit and its connectivity to all of life is the key to reaching higher consciousness - it is really about self-awareness. There is so much beauty to be experienced at each higher level and we need profound minds like Mozart and ARR, who push us subconsciously through their music and Einstein and Tolstoy, who illuminate the true nature of our universe and humanity to help us reach those levels consciously. Dinesh: I will try to post some of my feelings on ARR and his music in the future as and when I find the time. I have always been grateful to Gopal and this forum, which when I joined had less than 200 fans, for giving me the opportunity to share the wealth of feelings that ARR had inculcated in me through his music first, then through his personality and thoughts. I'm happy to have woken you up from your slumber: as Kailash Kher says - Jaago! :) Padmini: The song I analyzed was Uyirum Neeye and not Kehna Hai Kya. Since there are so many new members here, I will re-post it. Perhaps, I need to load articles like these in a shared location in the group so that fans can read it at their leisure. I would love to have Swapnil's musical reviews in one place if possible too. As I always experience at work, good ideas just come and go because we don't store them in anything else, but emails, which are really hard to manage. Neena and Raghu: I think above, I answered your interests and concerns regarding the request to start our own journal on ARR's music. Yes, Gops is already doing so much for this group and we can't ask any more of him. I think we just need to organize our resources already flowing through this forum and make them easily available and accessible to the thousands of fans who are a part of this group. I'm sure that would be something we can do fairly easily. Gomzy: I think your point is fair regarding the lack of originality, but I used the word in the sense of innovativativeness more than genuineness. I doubt I will ever have to question ARR's sincerity. Siraj, Suresh, Krishna Kumar, Vithur, Chord, Avinash, Shanavas, Durbha and all: thank you again for your kind comments, they'll help me stay motivated to write more of these, and before that, finish this one! :) Like some director once said (forget who exactly it was), ARR is like an ocean..so calm and so deep. If we can explore how much creativity is conjured up by him in those moments of spontaneous revelation, which I feel is what he experiences, we can grow a little deeper than we are now, achieve a little more awareness of ourselves and the world around us. If I can help in that quest by writing these articles, then that will be my gift to ARR. Take care and thanks again, Dasun To: arrahmanfans@yahoogroups.com From: [EMAIL PROTECTED] Date: Tue, 29 Jan 2008 12:41:40 +0000 Subject: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment So well and rightly said. It was a sheer bliss reading your write-up! Thank you so much for this wonderul post. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> 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 hi
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
So well and rightly said. It was a sheer bliss reading your write-up! Thank you so much for this wonderul post. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> 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
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Dear Dasun Keep posting, keep posting !! Don't ever stop !!! This is something I can say as an analytical study of art. I share and agree with your feelings. Having introduced with Rahman since 1992 ROJA and "meeting him" in "MUSIC" form, I have find myself a totally changed person. It is exactly what you mentioned as conversation in silence with our GURU. I hope, your postings give a meaningful insight to many of us in writing some better postings instead of cluttering the yahoo group with simple mono-comments like "SOOOPER" " to good " " excellent" and all that. Dasun, how about coming up with a series of postings wherein we take one movie of Rahman per month and express our own feelings / understanding / effect of each song ? You have really stirred me out of slumber. best regards Dinesh Vaidya Pune --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> 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
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Hi Dasun, Amazing.. Fantastic. I can understand how you enjoy our BOSS music. Its an amazing article I've ever read in the forum. Please keep posting such stuffs. Thanks for sharing. Cheers, Siraj On 1/28/08, Vithur <[EMAIL PROTECTED]> wrote: > >Dear Dasun , > > Your write up speaks abt yourself.. The way you have experienced ARR 's > music right from the beginning days till now. Very neatly written. > > Fantastic piece . Hats off > > > On 1/28/08, Chord <[EMAIL PROTECTED]> wrote: > > > > Fantastic writeup. Good choice of words and you are obviously very > > educated and well read. I esp. like your last paragraph, about > > sharing that unsaid silence with ARR and paying tribute to the harmony > > and divinity around us. I can TOTALLY relate. You expressed yourself > > very beautifully and poignantly. I'm going to save your writeup > > > > --- In arrahmanfans@yahoogroups.com , > > Dasun Abeysekera <[EMAIL PROTECTED]> 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 > >
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Very well written indeed. Not in so many words, but I share a similar feeling with you. Keep writing. I am so glad I joined this group. Keeps me close to my heart!!! Padmini On 1/28/08, Chord <[EMAIL PROTECTED]> wrote: > > Fantastic writeup. Good choice of words and you are obviously very > educated and well read. I esp. like your last paragraph, about > sharing that unsaid silence with ARR and paying tribute to the harmony > and divinity around us. I can TOTALLY relate. You expressed yourself > very beautifully and poignantly. I'm going to save your writeup > > --- In arrahmanfans@yahoogroups.com , > Dasun Abeysekera <[EMAIL PROTECTED]> 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 differen
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
wow.. I have seen ARR's music in one angle...that is ARR angle you have shown me "n" number of angles...still some of them are not digesting...so many new concepts...uhh... but still..excellent writeup... --- In arrahmanfans@yahoogroups.com, "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 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 cu
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment - Journal on ARR's m
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 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
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment - Journal on ARR's m
I just mentioned Journals.. but must keep in mind.. Obviously, articles must be educated, well structured, meaningful and with valid set of references(most imp). Good/ bad or new or original are very subjective and must be quantized somehow..just saying "Raasaathi is a wonderful song" doesnt help much. One must include the techinical details like major/minor C,F # etc scales, hindustani/carnatic raagas etc. Must comply with the format of the publisher.. This is no mean task but looking at the body of knowledge here, its possible. 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 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 diff
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Dear Dasun , Your write up speaks abt yourself.. The way you have experienced ARR 's music right from the beginning days till now. Very neatly written. Fantastic piece . Hats off On 1/28/08, Chord <[EMAIL PROTECTED]> wrote: > > Fantastic writeup. Good choice of words and you are obviously very > educated and well read. I esp. like your last paragraph, about > sharing that unsaid silence with ARR and paying tribute to the harmony > and divinity around us. I can TOTALLY relate. You expressed yourself > very beautifully and poignantly. I'm going to save your writeup > > --- In arrahmanfans@yahoogroups.com , > Dasun Abeysekera <[EMAIL PROTECTED]> 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 di
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment - Journal on ARR's music - a fantastic idea..
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 <[EMAIL PROTECTED]> 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
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Fantastic writeup. Good choice of words and you are obviously very educated and well read. I esp. like your last paragraph, about sharing that unsaid silence with ARR and paying tribute to the harmony and divinity around us. I can TOTALLY relate. You expressed yourself very beautifully and poignantly. I'm going to save your writeup --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <[EMAIL PROTECTED]> 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 sp
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
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 <[EMAIL PROTECTED]> 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 bo
