தேவை இல்லை தான். என்ன பண்ணறது. சைட்-kku traffic increase பண்ண அப்பப்ப இப்படி ஏதாவது sensationalaa எழுதQuote:
Originally Posted by rajaramsgi
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தேவை இல்லை தான். என்ன பண்ணறது. சைட்-kku traffic increase பண்ண அப்பப்ப இப்படி ஏதாவது sensationalaa எழுதQuote:
Originally Posted by rajaramsgi
வேண்டியிருக்கு
That's what my point to, you cannot go by acting alone, the overall mood or the situation (how I call it) is what matters the most for music directors. There are many such stone-faced actors/actresses here, if you go by them, you are bound to fail.Quote:
Originally Posted by sureshmehcnit
Thanks for your response. I really appreciate your effort in stitching those videos together writing this post. :smile:
I was worrying for the constant -ve opinions coming for SureshMechinit's post, atleast we shud appreciate the effort right? Finding all 3 movies, cutting, editing etc... :clap:
And is it Chinmayi singing Sri Raama Lera in thamizh?Quote:
Originally Posted by teja
Full marks for effort Mehcnit. (Idhai paarkumbodhellaam mehdi hassan dhaan gnaabagan varudhu). I don't think the comparison is valid in terms of instruments used, general mood created etc. But net-net. What I read from your post was that you were implying that while Raja was scoring from the pov of mood shifts among the characters and specifically for the moment, Rahman caught a generic mood of the scene early(pallavi's mother) and referred to it when convenient. To be honest. I think this is a microcosm of Raja vs Rahman BGm scores. You think I am just interpreting your post and creating this narrative? I guess suresh65 and some others can recall that this is what I claimed as the difference in bgm philosophy of Raja vs Rahman many moons ago. I take this as affirmation for my belief :). Thanks for your monumental effort which corroborates my lazy theory formed based on pieces of various mental images and sound processing alone.
To add to that, some people like Feeyar rubbish my theory saying that it is not possible for a score to represent specific moments and generic mood creation only is possible. That too is optional apdinnu solluvaar.
I think I used to callit "macro emotional BGM" vs "micro emotional BGM". Google searchla oru pazhaya postum sikka mAttEngudhu
The difference In composing philosophy between Rahman and Raja is fascinating for me. For example, I read often that Kathir picked a tune/song that Shankar also wanted etc. So part of Rahman's work involves parts of pre-composed products they can choose from. Obviously, this is not the case with Raja. I belive specificity vs genericity factors itself in right there. +bviously, not to be interpreted as all Rahman works are pre-meditated. Just the general philosophy seems to come out in the habits too. I personally include spontaneity as a criterion for evaluation of individuals. In their field of specilaisation - given that I generally don't appreciate Raja songs specifically because they were instantly composed, I also have a theory that at some level, the spontaneity gets embedded in the product and appeals sub-consciously.
You hit the nail on the head. Thank you.Quote:
Originally Posted by Plum
For anyone who grew listening to Ilaiyaraaja's movies, scoring for specific moments is the most obvious way of scoring background music. I realized later from A.R.Rahman's and many Hollywood scores that it is okay to go with a generic mood to deliver a perfectly right score.Quote:
Originally Posted by Plum