Without music life would be a mistake

Music engages many parts of the brain, bringing joy and, sometimes, sadness.

Ever wonder why many people wake up to music, work out in the gym to music, and play music while they are doing other activities? The reason lies in the fact that music engages many parts of our brain that integrate elements of emotions and memory. No wonder, listening to music does alter our mood and reduce stress. For good reasons, music is considered as important as the fundamental pleasures with a majority ranking music among the things that bring them the most pleasure, usually above money, art, and even food. Our brians are wired to find it as enjoyable as fundamental pleasures. 

Larry Sherman, a neuroscientist and lifelong musician, and Dennis Plies, a professional musician and teacher, collaborate to show how human beings create, practice, perform, and listen to music. They explore how music – whether instrumental or vocal - alters the air molecules that enter the ear and stimulate specialized nerve cells to generate powerful effects on our emotions. While neurons, the brain cells, do play a role a role in responding to music, it is unclear how we immediately recognize music after hearing just a few notes but distinguish the crescendo of flushing water as a sign of functional plumbing only. Charles Darwin suggested that the human brain evolved to engage in music, equipped to a draw a distinction between music and noise. 

Every Brain Needs Music is a musical journey into the world of music – from learning to play music to practicing and performing it, and from reacting to music to benefitting from musical experiences. Like human language(s), music has a language that can enhance the meaning of our words and our ability to express ourselves in subtle ways. In eight musical curated chapters the book connects cognitive, sensory and motor functions of the brain’s capacity for creativity. Of common interest are the final two chapters on how the brain listens to music and how the brain comes to like or dislike different types of music because there is a curiosity to learn why some compositions light us up while some other pull us down.  

To add more substance to the narrative, the authors conducted survey of over one hundred composers, professional, and amateur musicians, teachers, students, and music lovers to gauze their response on how music brings them pleasure. While acknowledging that music is the most fundamental of the higher-order pleasures, the majority echoed Friedrich Nietzsche’s most famous words: ‘Without music, life would a mistake.’ Music is ingrained in human system much before language came into being. Music is known to create ‘aha’ moment for many – an Alzheimer patient after listening to his favorite number could recall his family members; a young woman with Parkinson could lift her foot after humming a rhythm; and a advanced stage cancer patient could forget the pain after listening to his favorite song. Music is a kind of key that opens countless doorways in the mind.           

Witty and informative, Every Brain Needs Music evokes the love of music in more ways than one. Learning to play an instrument or sing can drive the generation of new cells, new synapses, and new myelin in our brains. As music involves a high degree of sensory, motor, and cognitive integration, it generates a powerful effect on our emotions and memories. No other activity engages multiple networks within our brains. It is this that makes music exclusive to human existence. The authors call for the need to mainstream music education for the role it may play to enrich our aesthetic and cognitive lives.  

While researching and writing this book, Sherman and Plies were careful not to be swayed by poetic expressions like ‘music is the wine that fills the cup of silence.’  Instead, they took a deep dive into what music is to the human brain. For them it was important to capture the series of changes that the vibrating molecules (as music) generate in brain while travelling through the air at around 343 meters per second or 767 miles per hour. Every Brain Needs Music is for all those music aficionados who wish to learn how different areas in the brain change by creating, practicing, performing, and listening to music. Brain is what makes music music.

Every Brain Needs Music 
by Larry Sherman and Dennis Plies
Columbia University Press, New York 
Extent: 270, Price: US$32.

First published in The Hindu on July 14, 2023.

A signature on the airwaves

Lata was like the mythological gandharva who is described as a celestial being sent to earth to dazzle ordinary mortals with their art.

A nightingale needs no introduction, and so does Lata Mangeshkar whose melodious voice regales every auditory sense. Through her innumerable songs in multiple languages, Lata’s enduring voice continues to move and inspire. Need it be said that her soulful songs infuse a sense of oneness, that is beyond caste, class, creed or gender. Further, there are many who consider her songs to be the ground we stand on, a way to keep ourselves from falling. 

Given the melodious songs in multiple genres that Lata has song in her distinguished career of over half a century, her life in music is beyond a single definition. From lullabies to devotional and from patriotic to romantic, her oeuvre of songs reflects every human emotion which lends a sense of multicultural relatability. She entered the world of playback singing at an early age in 1949 and reigned on top till her demise in 2022, leaving the world with a rich repository of over 2,000 songs. Till this day, her songs invite the listener to delve deeper into her world of music. 

Much is known about her early years of life, her father’s untimely death and the burden of supporting the family that fell on her little shoulders. Ever since she learnt to sing raag Puriya Dhanashree from her father, Lata’s training in classic ragas and her devotion to the craft grew to dizzy heights bringing sweetness and joy into countless lives. Her extraordinary range of voice and effortless rendering on any pitch earned admiration from the doyen of classic music Ustad Bade Ghulam Ali Khan who had remarked, ‘Damn, this girl never goes off-key’.      

In a decade-long dialogue with her, Yatindra Mishra brings to light the life in music of the iconic singer in the biography Lata Mangeshkar: A Life in Music. Originally written in Hindi, the translated version is arranged in two parts: first half engages the reader in the episodic journey of a inimitable playback singer through the changing decades, the second half is her response to all questions that one would ever expect her to answer. As rightly asserted, the biography sits at the confluence of cinema, music and literature. However, English readers may find discomfort in dealing with mukhda of songs in Hindi but that should not be a serious limitation as digital assistance is only a click of a button away in decoding or drawing reference to the songs.   

Known for her shy nature and modest demeanor, Lata was like the mythological gandharva who is described as a celestial being sent to earth to dazzle ordinary mortals with their art. Indeed, so as she had a divine voice quality in which she could control her breath, never letting the listener know how and where she paused to draw a fresh breath. Whatever she sang, she was in total control of the emotions, feelings, mood, and the onscreen situation of the song. Devoted to the purity of her craft, Lata did not like mawkish song, nor did she sing patriotic songs that were composed for a mere dramatic flourish. Through her music, she reflected dignity and grace.

In his encyclopedic presentation, Mishra offers rare but interesting insights on how the iconic singer interacted with her peers, engaged with some of the incredibly talented composers, and treated the rich poetry on offer. Known to avoid swear words, lyricist-director Gulzar was a liitle nervous about the use of word ‘badmash’ in the song ‘aapki badmashiyon ke yeh naye andaz hein’ (Film: Ghar). Instead, Lata observed that the word gave the song a tang and while rendering it she laughed, giving it an entirely delightful air. As a singer, she would immerse herself totally into the mood of the lyrics, and that is what made Lata an iconic singer. 

Lata Mangeshkar: A Life in Music is a virtual who’s who on irrestible filmmakers, incredible composers, and finest poets who transformed the nightingale into an intellectual and cultural exponent of musical traditions. The biography stands out for providing a nuanced understanding on how the music engaged with the singer, and how the singer treated the lyrics on offer. For those who follow music closely and wish to understand how a particular composition came into being, the book offers a final destination. Indeed, this is the most definitive biography of our most revered cultural ambassador.  

Lata Mangeshkar: A Life in Music
by Yatindra Mishra, Ira Pande (trans) 
Viking, New Delhi 
Extent: 345. Price: Rs. 799.

First published in the Hindustan Times on May 12, 2023.

Symphony of rhythm and melody

There is declining audience patience, and heightened degeneration in aesthetic sense of poetry, diction and music.

A heady combination of unique synergy and unmatched individual brilliance made the music composed by the incredible duo of Laxmikant and Pyarelal resonate beyond their active life as film musicians. Nicknamed LP, they became the L-ongest P-laying uncrowned monarchs of film music, composing 2,900 songs for 750 films in a career spanning three decades until 1993. Entertainment journalist Rajiv Vijayakar has drawn their biographical sketches, their eventful coming together, and their journey of unmatched popularity in Music by Laxmikant Pyarelal. LP indeed created a popular symphony with a classic touch.  

With an extraordinary mix of lyrics, melody and rhythm, LP created larger than life music. Such was their musical appeal that people in theatres would express their appreciation by throwing coins at the screen. Dafliwale dafli baja composition from film Sargam was so popular for its musical score and cinematic rendition that an unbelievable one crore rupees in coins were collected from movie halls in 1979. It was their bond of friendship, and the understanding of music that was nothing short of miraculous in delivering an incredible saga of unequalled success.  

In their formative years, both have had the opportunity of assisting legendary film musicians like C Ramachandra, Shankar-Jaikishan and Kalyanji-Anandji. However, to survive in a highly competitive world of film music, the duo continued experimenting with both musical notes and singers to create a distinct niche both among producers and listeners. What clicked for them was their mastering the art of being slaves to a cinematic situation, and the screen characters. Such has been their oeuvre that soundtrack after soundtrack are worth keeping for posterity. 

In such times when there is declining audience patience, and heightened degeneration in aesthetic sense of poetry, diction and music, encapsulating the life and music of past masters is a tribute to their virtuosity and versatility. Seemingly in awe of LP, Vijayakar has brought to light the extraordinary caliber of the duo in enriching listener’s life with musical and lyrical content. Each musical creation holds a story in itself, which is what makes the book interesting and engaging. That they flew to London in mid-1960’s to get a feel of the city for composing Nazar Na Lag Jaye for the film Night in London is one among several interesting stories captured in the book.    

If the number of chartbusting melodies were any indication, LP were musically cut above the illustrious luminaries of their time. However, in no way should it be inferred that stalwarts including Shankar-Jaikishan, S D Burman, O P Nayyar, Madan Mohan, Usha Khanna, Rajesh Roshan and R D Burman were less innovative? In effect, the duo did admit that they not only learnt music from them but also what not to do as musicians. This had helped LP in contributing their share of music to the combined contribution of others in making 1960s through 90’s the glorious period of film music. Indeed, that remains a period of musical splendor.  

Music by Laxmikant Pyarelal offers glowing tributes to the incredible duo, with contributions from singers, lyricists, actors, filmmakers and musicians. While Lata Mangeshkar, Mohammed Rafi and Kishore Kumar were their favorites, in all some 105 male and 72 male voices got their career breakthroughs as singers at the recording studios of Laxmikant Pyarelal. They had earned deepest admiration by all those who worked with them. LP music was as concerned with virtuosity, as aware of feelings and stories. Their musical discoveries underpin the creation and comprehension of music that were unknown to many others.    

Vijayakar captures everything a music lover would like to know about the incredible Laxmikant Pyarelal., their incomparable musical range of unmatched quality. However, a separate section on how some of the chartbusters were composed would have added value to their genius. Given that we have only two eardrums and two ears, how indeed many appealing sounds get created remains intriguing. Laxmikant has long departed by Pyarelal is still devoted to music. Being the only Indian composer to have a symphony ‘Om Shivam in A-Minor’ registered in his name, Pyarelal has ensured that their musical legacy lives on.

Music by Laxmikant Pyarelal 
by Rajiv Vijayakar
Rupa, New Delhi 
Extent: 312, Price: Rs. 599.

First published in the Hindustan Times on April 28, 2022.

The Right Words for the Right Tunes

Lyrics are to music what heart is to body, thereby creating a pulsating culture of distinct narrative that has survived since the advent of sound in cinema. 

Over decades, songs have acquired a musical grammar of its own in building an emotional chord with its listeners, both on and off the screen. From populist numbers to flashy entertainers, songs have outlived films in people’s memory. Each song holds a distinct complexion and aura in taking the cinematic narrative forward, which gave lyricists an opportunity to weave magic with words to articulate emotions in simple, accessible verses. Yet, their immense contribution to Hindi cinema has not got its due, lost to overt recognition of music composers and singers.  

Main Shayar Toh Nahin is a comprehensive attempt at restoring that disparity by revisiting the lives and works of those whose lyrics reigned supreme in conveying emotions of all hues, and thereby became part of the cultural fabric of the society. From the art and craft of song writing to structuring poetry into the film narrative, and from capturing depth and range of human emotions to pacing simple verses as musical interludes, the book delves into all that went into loading simple words on complex situations for creating a lasting impact. Such has been the contributions of leading lyricists, from Pradeep to Kaifi and from Majrooh to Gulzar, that film songs attained personal and social relevance beyond just pleasing the ear. 

Without Sahir’s heart-rending Babul ki duaen leti jaa marriage ceremonies are rarely considered complete; Anand Bakshi’s reflections in Kuch to log kahenge help listeners overcome life’s tribulations; and Shailendra’s classic Sajan re jhoot mat bolo holds moral lessons. By playing with power of words lyricists could evoke multiple emotions to suit myriad situations on screen, converting life’s experiences into simple but relatable verses. Words are intelligently packed to lend meanings through music to create uplifting, inspirational, and soothing effects.  

Filled with trivia and unheard anecdotes, Rajiv Vijayakar has pieced together a fascinating history of lyricists that reads like a who’s who of all those who have carried the rich tradition of weaving words into music to assert that ours is a land of lyrical expression of thoughts and emotions. Lyricists, unlike poets, face the challenge of reading the situation, the emotion, and the character on the screen in selecting verses that not only conform to the musical tune but appeal to the masses too. ‘The power play of words saw entire philosophies written using fluid, everyday language’, says the author. Indeevar’s Kasme vaade pyaar wafa and Gulzar’s Aane wala pal jaane wala hai continue to resonate till this day. What must not be lost to oversight is that while creating a rich and variegated collection of happy, sad, and romantic songs these lyricists had to strike a perfect balance between their creative instincts and the demanding ecosystem?  

As the book traverses the musical journey of lyricists, it also seeks to explore why words and melody have a fleeting presence today. With commerce taking precedence over creativity, grammar, aesthetics, and the finesse of language has taken a beating. How else would any lyricist use the word haalaatein when haalat (circumstances) itself is a plural term! Curiously, the consequent sense of loss that music lovers feel is falling on deaf ears. Known for his impeccable reputation as a lyricist, late Raja Mehdi Ali Khan had long opined that lack of language proficiency and reading habit had brought the inevitable decline in the quality of lyrics. Rightly so, as a majority of today’s lyrics are mere assemblages of words, bereft of thoughts.

Far from being judgmental, entertainment journalist Rajiv Vijayakar draws the contours of change sweeping the world of film music, and the challenges that lie ahead. It is evident that in the predominant market culture, songs have become products with a short shelf life. ‘Songs are dying faster today because the importance of words has decreased’. Much of the onus rests on how the music industry recognizes and responds to the importance of words, and gives lyricists their due in reviving the culture of songs. For the music loving populace, however, songs promise more than mere entertainment as these push thoughts, impart lessons, discuss morality, and provide a psycho-therapeutic balm.  

Main Shayar Toh Nahin is all that an avid music lover ever wanted to know about what went into creating a memorable song. It is a tribute to the genius of past lyricists, who made the audiences connect and identify with the words at the personal level. Such has been the impact and power of lyrics that a vast majority can effortlessly recall several such songs. Will the present-day lyricists uphold that rich tradition! 

Main Shayar Toh Nahin
by Rajiv Vijayakar
HarperCollins, New Delhi
Extent: 347, Price: Rs 499.

First published in the Hindustan Times, issue dated March 30, 2019.

Music to the years

During the decades in which the nation was made, unmade and remade, songs captured the mood, sentiments, and consciousness of the country’s identity.

Could there be any political underpinnings of the time reflected in this unforgettable song Hum bewafa hargiz na thay, par hum wafa kar na sake of the late 70’s? Not much is there to write home about Anand Bakshi’s lyrics, but Kishore Kumar’s pitch, tone and tenor of delivery made the song a timeless classic. Give a discerning year to the song and one can draw an interesting parallel to this hit-song from a flop-film. Much like the short-lived Janata Party rule at the centre at that time, the much-hyped film Shalimar too had flopped at the box office the same year. And, the song conveyed the message that letting down the people was neither the objective nor the intention. It applied as much to the characters in reel life as to the politicians in real life. 

Differing in their journalistic experiences and personal interests, Ankur Bhardwaj, Seema Chisti and Sushant Singh teamed together to draw such parallels, one song per year, to complement the twists and travails of seventy years of post-independent era. As much a book of general knowledge, Note by Note captures the rhythm of country’s socio-economic and political rumblings to the beat of popular film music. The symphony it creates is imaginative, interesting and engaging albeit in parts.

There is no denying the fact that Bollywood songs have held relevance beyond the narratives and situations unfolding in the films. Living in our collective memory, songs articulate some of our deepest desires, delights and even nightmares. Written by some of the great contemporary poets and composed by pre-eminent musicians, film songs have tended to reflect upon our everyday existential, social, national, and universal concerns. The authors argue that rather than narrowing the notion of ‘India’, popular music has continued to expand it. During the decades in which the nation was made, unmade and remade, songs captured the mood, sentiments, and consciousness of the country’s identity. . 

If Guru Dutt’s reaction to the persistent corruption and degradation of society a decade after independence was masterfully captured in the song Jinhe naaz hai Hind par who kahan hai, the end of jury system following the landmark Nanavati case was epitomized by Pyar kiya to darna kya. Without doubt, much of the 60s and 70s were youthful years of post-independence generation, the whiff of romance in the air found reflections in first, Oh haseena zulfon waali as an attempt to woo lady love, and second,  Chura liya hai tumne jo dil ko confirming  that love has finally found its mark. With one song representing each year of independent India’s history, the book gives music to the years by picking one Hindi film song that was composed and widely heard during the year. 

Nothing could be more challenging than to pick one popular from among hundreds of songs to mirror the development of the nation during a particular year. Some lyrics closely reflect the unfolding realities whereas many other songs need interpretation to match the situation. While the authors argue that the link between words and tunes of songs with the people has been deeper and stronger, the present-day lyricists and composers have the added challenge to generate the level of feelings that can sustain that link. 

Although the efforts by Bhardwaj, Chishti and Singh are commendable, midway through the book a reader starts to wonder if it is a general knowledge book peppered with songs or a book of songs interspersed with general knowledge. However, the authors succeed in making reading modern history musical by juxtaposing short analyses of the songs with thumbnail sketches of development. Papa kehte hain bada naam karega bore little resemblance to the events in the country in 1988, but the lyrics by celebrated poet Majrooh Sultanpuri sought hope amidst all round anxiety. Whether or not one accepts the choice of songs, the selection not only captures the overall mood and groove of the year but the poetic sensitivity with which it was musically expressed as well. 

Be it a reflection of Jawaharlal Nehru drafting country’s future through Afsana likh rahe hoon in 1947 to the period of deaths and strife in 1993 which sought nothing less than a mourner to hum Dil hoom hoom kare, Ghabaraae, the songs of the past seven decades clearly reflect the innate resilience that has seen the country emerge unscathed from each bout of uncertainty. Nothing but the number Anhoni ko honi kar dein, honi ko anhoni, from the movie Amar Akbar Anthony, released in 1977, reflects our national character of pulling ourselves out from all odds. 

Having grown up with the memorable film music of yesteryears, the book evokes nostalgia of the era when rhythm and melody reigned supreme in conveying emotions of all hues. The songs of the past were part of the cultural fabric of the society, stirring emotional chord with its listeners. In the predominant market culture, however, songs are like products on the supermarket shelves! 

Note By Note
by Ankur Bhardwaj, Seema Chisti, Sushant Singh
Harper Collins, Delhi
Extent: 159, Price: $35  

First published in Hindustan Times dated Sept 8, 2018