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Century - Makers In H - Music: Instrumentalists
Issue : 196
Published on : January, 2001

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Special Feature - Century Makers In Hindustani Music Part Ii; Main Feature - R.Vedavalli

Special Feature

Numerous instrumentalists contributed to the development of Hindustani art or concert music during the 20th century. Among them, some stand above the rest because they influenced the development greatly as pathfinders, pioneers, trendsetters or standard-bearers. These are, in our consideration, the makers of 20th century Hindustani instrumental classical music. After consulting a select number of experts, Sruti offers its own list of these century-makers, assuming responsibility for the final choice. The main point to remember is that we have not taken excellence as the only criterion and we do not suggest that the impact or influence of those selected was, in every case, beneficial to the art. We also allow there may be room for choices different from ours. Vocalists whom we named in Part I broke new ground in terms of musical conception and technique. This is true of the instrumentalists also. But, in addition, virtually all those included in our list contributed to the 'vertical growth' of their chosen instruments, that is, they discovered and developed the technical amd musical potential of their chosen instruments and, in many cases, gave the instruments an identity of their own as concert instruments.

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Main Feature

Profile - R. Vedavalli


A reason why many organisations arrange lecdems on music and dance subjects is presumably there is a keen interest among at least a segment of music and dance enthusiasts to learn more about these arts. There are many scholars as well as artists who cater to this; among them, Sangeeta Kalanidhi R. Vedavalli is recognised as an assertive voice that can present the in-depth nuances, grammar and valid interpretations of classical music. Vedavalli has remained committed to maintaining the traditional method of rendition in Carnatic music. She has proved that it is possible to hold the attention of audiences without compromising the integrity and quality of what is termed as art music. This is particularly significant at a time when seminars are popping up with such titles as Quality vs Audience, as though the two are mutually exclusive.

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