Carnatic Music Quotes

Only after coming to Chennai did I come to know that I know nothing about music. People in Chennai are so talented in Carnatic, ghazals, etc. They can play Piano, etc so well.

When it comes to 'Maruvaarthai,' I have said many a time that Carnatic music drives my creative influence. In that sense, Darbuka Siva gave me a lot of room to breathe with the melody. The instrumental, however, was grounded. The lyrics is just poetic, and phonetically, they sound beautiful.

'Maruvarthai' was an exciting song for me because it showcased my Carnatic roots.

I grew up learning carnatic music but I also enjoyed english music so I always thought I could marry the two words and we tried the idea once and it was a hit.

When I began competing with the other artists in New York, I discovered classical North Indian music.

I'd love to do a musical on the lines of 'Salangai Oli,' 'Sankarabharanam' and 'Sindhu Bhairavi.'

My mother, who is a Carnatic musician, started a school for children when I was around three, and I grew up listening to her teaching students.

My idea is to take the improvisational excitement that takes place with Carnatic music and juxtapose that in different sonic contexts.

I've learnt music, since this is a part and parcel of growing up in a traditional Tamil Brahmin family. In fact, I've even given three exams in music when I was young.

I owe so much of my musical growth to my exploration and performance of Carnatic music.

When K. Vishwanath made the film 'Shankarabharanam,' he wanted to bring back Carnatic classical music to mainstream. It's popularity was waning in those days.

I grew up listening to dappan koothu songs and loved the fun party vibes they gave.

The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.

Thyagaraja was not a professional musician. He did not sing for situations. He was music himself.

My mother learnt Mohiniyattam as a child, and my father loved singing.

I would say that the most complex style of singing comes from India. Real, classical Indian music produces probably the best technical and natural singers in the world, just because the patterns and the inflection are so complex in how the style moves and what it requires vocally. I think the best classical singers come from India.

My basic grammar is in Indian classical music, Carnatic music, and Hindustani music, but I don't believe that that is the only form of music I will learn. I don't believe in that, because I am a very open minded person.

I'm a huge fan of Chennai - the culture, the musicians, the audience... Language is not a barrier. It is all about the emotion in the music.

Growing up, any time I would sit down with my grandfather to learn or talk about Carnatic music, he would bring up G. N. Balasubramaniam. Listening to the recordings he would play me, I was dazzled by GNB's voice and how he was able to execute ideas that I could barely wrap my head around.

My roots are Carnatic music. I think everything stems from that.

I had been interested in Indian music and I actually started studying Tableaus before I met him.

Across generations, the torch-bearers of Carnatic music have mastered the art form of connection.

I come from a musical family, and Carnatic music made up so much of my childhood, my upbringing, and my musical transition.

The origins of Indian classical music, not unlike their western counterparts, lie in the Vedas, the ancient Hindu scriptures of 2,000 years ago.

Indian classical music was born when time barely existed. It developed further within the structures of royal courts and a system of patronage where the ruler or the feudal master determined all.