The Rich and varied repertoire of Indian Music – be it the fascinating systematized classical music or the spontaneous manifestations of traditional music, invokes the listener’s fancy and inspires the musician’s frenzy, leading to sheer aesthetic delight. In the plurality of our cultural manifestations, both tradition and innovation thrive side by side, contesting with each other, complementing each other. A confluence of classical music with neo-art fusion does seem to take place today in the back-around of Indian Culture.

Music Forums and Cultural Institutions, today, serve as media for intellectual and experiential exchange of views on our trdition as well as on the many important innovations taking place every other day. Seminars and Conferences, like the present one, focus on the contribution of illustrious performers and evaluate contemporary experiments. This eventually will help bridge the existing gap between the artiste and the general audience.

Earlier, classical music belonged to a specific place, region or to a few families and did not have expansive possibilities. In fact these limitations helped the music develop its own idiom, style and technique on the strength of hereditary : the ‘tradition’.

But in the present / New Age, Performing Arts have been brought under institutional leverage for wider study and application, and have become part of a curricular discipline, to pursuer the aesthetical capabilities of the students taught, an academic orientation based on strong practical knowledge has become essential. Hitherto, such critical faculty in appreciating arts was subjective, connoisseur to build up, reinvent parameters and guidelines for our own appreciation of the art and also for ensuring such appreciation from others. In other words, in today’s context, the listeners, i.e. the audience form the point of view of modern sensibility.

Great works of yesteryears can serve as guidelines for undertaking serious work bring about feasible changes in the portals of classical music. Change, transformation and improvement are inevitable supposedly in any art form. Such creativity is not doing something different; it is about bringing a new synergy of job and contentment in whatever one does.

Tradition and creativity are two sides of the same coin. Both cannot allow flippancy and deviation for the sake of doing something new ands above all cheating out on sanctity of an art form / music. Novelties are always welcome provided they are acceptably impressive, opening new vistas of fertile, imaginative creativity.

(Pushpa Krishnamohan)                                   (Sukanya Viswanathan)
        Convenor                                                                 Chairperson

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