I find many musicians sing brilliantly but with phonetic errors especially in Sanskrit. In Sanskrit there are 21 vibhakti endings and all need to be enunciated. A common example is here:
Sachi,
Yes, indeed. How grand it would be if singers paid as much attention to sAhitya!I know, it's hard for the learners, especially with sanskrit and old tamizh. All we would ask them politely, is to pay attention to the words. Yes, old words are very hard for the younger generation to get right because of their antiquity in some songs. We know, it's harder for the young singers because thy do not hear or speak tamizh as their parents or grandparents did, let alone their exposure to tamizh--except in a mundane, practical way.
My wish is that when they pay as much attention to the musical grammar in their singing, they also consider singing the sAhitya correctly, at least in their own language--get the meaning and the mood of the song in order to bring out its emotional content.
Yes, it is hard, especially with sanskrit and the older lyrics in any language. Yet, it's part of the rigor of learning your art. I am certain there are many young singers who are diligent about this, but at the moment, Amrutha Venkatesh comes to mind as a good example. What I am trying to convey to the youngsters--the future of CM is--yes, bhAva can be achieved by a voice or musically appealing phrases, but experiencing the emotional impact of an old verse can certainly enhance their performance.
That feeling of the cool night we used to enjoy sleeping on the terrace in Madras IIT...
And Delhi...
And Calcutta...
In fact a whole paradigm of Barsati was created in north India.
The covered place you rush to half asleep with your bedding and all as you rush to escape the sudden and welcome cool night showers! Located on the terrace it was excluded from FSI calculations!
