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Body and Soul of Music

05 May, 2026 | Archival Reproductions by Cinemaazi

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Body and soul, it is said, are the two sides of a coin. The human being is not complete without both.

The almost uniformly parochial thinking which exists in many quarters today regarding classical and light music amuses me for this very reason, and the tirade against light music reminds me" of the similar position in which "modern" painting found itself at the turn of the century.

"There is no difference between classical and light music," says the author in his forthright article.

So I want to say, with the greatest possible emphasis, that there is no difference between classical and light music. The relationship between the two is like that of the moon and the light which it sheds. Or to revert to our original simile, that of body and soul.

The greatness of classical music is undisputed. It requires none to champion its cause. We are all aware of its fascinating range, flexibility, sweetness and power. We bow our heads before it. It has been tested on the anvil of time and not found wanting. But what about light music? How did it come about, and are not its claims to reconciliation valid?

The origin, structure and significance of both classical and light music must be understood in terms of the times in which they flourish. Let us examine the world of music seventy or eighty years ago.

Conditions were very different then. There was peace, and the tempo of life was not as high-pitched as it is today. There was leisure to savour the pleasures which the arts provided. Classical music, with its ''spread out" measures and prolonged strains, was the natural product of the times.

... songs have spread the message of universality, of the oneness of man's body and soul, the oneness of all mankind.

"When Indian classical music got lost in its own unending convolutions, when Technique developed at the cost of the Spirit, music withered and died. Under the weight of the "taan" and the "palta", the heart of music was broken," says music director Ramchandra.

If a classical "raga" was lengthened by innumerable variations and sung over and over again from evening into the early hours of the morning, it was because people had the time and inclination to sit, listen and appreciate.

One of the film industry's most successful music-directors,
C Ramchandra is seen here trying out one of his new compositions on the piano.

Life today, however, is very different. The tempo has quickened unbearably, and the struggle for existence in a world of turmoi1 leaves hardly any time for one to relax. People are restless. Our way of life and thinking, too, have been attuned to the fast pace of our times.

People no more have time to sit through the night in a state of emotional exaltation swaying and nodding to the refinements of the classical ragas. They have to be at the office by 9-30 a.m. or earlier!

So, people want to be entertained in the quickest possible way and the shortest possible time. The pleasure once derived in an hour's listening to music must now be taken in three minutes-the equivalent of the time it takes to play one side of a gramophone record.

Art, to be dynamic and survive, must continually undergo changes and, in doing so, must adapt itself to changing conditions of life. So, too, music must continually grow with the times and adapt itself.

Music is a treasure which belongs to the people. In what form and manner it is to be presented to them is their business, not that of the pedants and critics. And it is we musicians who are responsible for presenting it in the desired manner and form.

The time has therefore come to approach the problem with understanding. It calls for broadmindedness, too. I cannot help remembering the great Saigal, a fine classical singer who brought glory to film music. Despite the classical style of his singing, his songs are still on the lips of people throughout the country. This, I think, is the greatest tribute which can be paid to light music.

What is light music-a "geet," for instance? It is a manifestation of the emotions which spring up in us, feelings which spring not from the mind but from the heart.

Thousands of such "geets" are composed every year, but only a few of them become popular. Why? Several factors are responsible. In some, the lyrics are poorly composed. Fine emotional feelings are lost by clumsy expression.

Yet, I feel, by and large the reason why some "geets" fail to appeal is that there is nothing unusual about them. The ability to set lyrics to unusual, effective melodies comes from the music-director. And it is melody which is the life-blood of the light song.

Since the tempo of life today is so swift, it is not easy to interrupt it and make people stop, listen and appreciate. So the music director has to employ all the artifice, all the musical magic at his command, and come up with a tune which can make them stop, listen and enjoy.

The lyric must be composed with imagination. The words should be simple, easily understood and should put the meaning across poetically. It otherwise is lifeless. Then it should be "tuned" to be in keeping with its mood, emotions and the feelings it expresses. The tune should be unusual and arresting. It should bring out the soul of the lyric.

A good melody is one which sounds new to the ear. It should sound unusual, yet should be easy to remember, easy to sing.

Various techniques are in favour among music directors in achieving certain effects in light music. They should, however, always aim at freshness in melody, a quick, easy rhythm and a glossy finish.

A glossy finish is absolutely necessary. It is the very life of the song. If the song is crude and "unfinished," it will sound so to the listener and never become popular.

We have, during the years, assimilated much from the music of foreign countries. There is nothing wrong in that. On the contrary, it is desirable to put before our people the good features of foreign music and to adapt the beautiful in it, in our own manner, to our own needs, and to blend it into our own music.

Music is of the people. In every country it is of the people-not of the chosen few. If new experiments are being made in music in other parts of the world, why shouldn't our music benefit from them?

I believe in the adaptation of Indian classical music as well as foreign music to the growing needs of the Indian film song. The orchestration in the music of the West is so perfect that we can learn much from it.

I know that thousands of Indian music records are sold abroad. The musicians of other lands commend the style and technique of our film music, and sometimes even adapt our music.

Probably, no other country in the world has music so much in its blood as we have. We must try to understand the needs of our people, their emotions and their aspirations, and give them music which satisfies them. They want music which plucks at the heart-strings. Let us give it to them.

When Indian classical music got lost in its own unending convolutions, when technique developed at the cost of the spirit, music withered and died. Under the weight of the "taan" and the "palta" the heart of music was broken. Thus our classical music wandered off the path. It was lost in the by-lanes of technique, in endless display of the mechanics of music.

And so the common man gradually became indifferent to such music. In his search for a music with which he could identify himself, he turned to something more vital, more living. The songs of the soil sounded in his ears- the simple, earthy chants of village girls drawing water at the well, their lilts in rhythm with their movements-folk songs, simple, touching and as elemental as blood, love, laughter and tears. In other words, a living music.

And so the classical "baithaks" dwindled and the gatherings of people at the temples, at the wells, in the fields and by the fireside increased. Music grew young again. It could again take people on the wings of fancy, flying them through realms far above.

The magic of the "geet" is the magic of the senses, the magic of the body. In the bhajan lies the magic of the soul. The world of the bhajan is a strange world. It has revelations and pleasures unequalled. Out of the strong rhythms of the "mradang," and the brass cymbals and drums, divine ecstasy is evoked in which people lose themselves.

There are as many forms of bhajan as there are provinces in India. There are the keertans of Bengal, the bhajans of Maharashtra, of Gujerat, of Kathiawar, of the Punjab, the South and Uttar Pradesh. Each has its own form and, in spite of being written in different languages, the impact of all these bhajans is the same.

I mention the bhajan here because it is sung by, and for, large groups of people. This has brought people in close touch with music and made them music-minded.

I would go to the extent of saying that it is the bhajan which has spread music to all parts of India, and popularised it among people everywhere.

It springs from the earth, from the heart of man. It speaks to the soul. It has been composed and sung by Tulsidas, Meera, Sur, Kabir. Nanak, Tukaram, Namdev, Chandidas, Narsi Mehta- poet-saints in different parts of the country. Their songs have spread the message of universality, of the oneness of man's body and soul, the oneness of all mankind.

The bhajan has transcended all artificial barriers in music and, with its simple and direct appeal, reached out to the hearts of the common people.

In a way that is also what the light music of today has achieved.

This article was published in 'Filmfare' magazine's 20 July 1956 edition. written by C Ramchandra.

The images and captions are from the original article.

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Cinemaazi remembers Reema Lagoo on her death anniversary

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