A.R. Rahman A.M.Studios Chennai, India

Music & film production

The building process was started several years before Sound Wizard was approached to take full charge of the project. We restarted almost from scratch and with the active collaboration of Studio 440 from Los Angeles, managed to complete the project within nine months.
This recording studio is interesting because of the flexibility it offers for music recording and film mixing, thanks to variable acoustics. The control room has a large bay window offering full view of the big screen in the mix stage.
The recording area, which doubles as a mix stage, can accommodate up to thirty musicians for large recordings. There are also two additional isolation booths with large glass sliding doors, offering easy viewing to and from the main recording area.
Most acoustical treatment was done using specially imported RPG diffusers, clouds and Maharam acoustically transparent fabrics, giving the facility a chic plain lines and a roomy feeling.

Performing and Other Projects

Rahman has been involved in several projects aside from film. Vande Mataram, an album of his original compositions released on India's 50th anniversary of independence in 1997, enjoyed great commercial success.

Vande Mataram is one of the largest selling Indian non-film album to date.He followed it up with an album for the Bharat Bala-directed video Jana Gana Mana, a conglomeration of performances by many leading exponents and artists of Indian classical music. Rahman has written jingles for ads and composed several orchestrations for athletic events, television and internet media publications, documentaries and short films. He frequently enlists the Czech Film Orchestra, Prague and the Chennai Strings Orchestra.

In 1999, Rahman partnered with choreographers Shobana and Prabhu Deva and a Tamil cinema dancing troupe to perform with Michael Jackson in Munich, Germany at his "Michael Jackson and Friends" concert. In 2002, he composed the music for his maiden stage production, Bombay Dreams, commissioned by musical theatre composer Andrew Lloyd Webber. Finnish folk music band Varttina collaborated with Rahman to write the music for The Lord of the Rings theatre production and in 2004, Rahman composed the piece "Raga's Dance" for Vanessa-Mae's album Choreography performed by Mae and the Royal Philharmonic Orchestra.

Since 2004, Rahman has performed three successful world tours to audiences in Singapore, Australia, Malaysia, Dubai, the United Kingdom, Canada, the United States and India. He has been collaborating with Karen David for her upcoming studio album. A two-disc soundtrack, Introducing A. R. Rahman (2006) featuring 25 of his pieces from Tamil film scores was released in May 2006, and his non-film album, Connections was released on 12 December 2008. Rahman also performed at the White House State dinner arranged by US President Barack Obama during the official visit of Indian Prime Minister Manmohan Singh on 24 November 2009.

Rahman is one of over 70 artists who performed on "We Are the World 25 for Haiti", a charity single to raise emergency relief funds in the wake of the 2010 Haiti earthquake. In 2010, Rahman composed "Jai Jai Garvi Gujarat" in honor of the 50th anniversary of the formation of Gujarat State, "Semmozhiyaana Thamizh Mozhiyaam" as part of World Classical Tamil Conference 2010, and the official theme song of the 2010 Commonwealth Games, "Jiyo Utho Bado Jeeto". Rahman organised his first world tour, named A. R. Rahman Jai Ho Concert: The Journey Home World Tour, in 2010. The tour was kicked off on 11 June at the Nassau Coliseum in New York and span 16 major cities worldwide.

Some of his notable compositions were performed live by the London Philharmonic Orchestra in April 2010. In February 2011, Rahman collaborated with Michael Bolton for his new studio album Gems - The Duets Collection. Rahman reworked on his song "Sajna" from the 2009 American film Couples Retreat to create the track.

On 20 May 2011, English musician Mick Jagger announced the formation of a new supergroup, SuperHeavy, which includes Dave Stewart, Joss Stone, Damian Marley, and Rahman. The band's self-titled album is slated for release in September 2011. The album will see Mick Jagger singing in Rahman's composition "Satyameva Jayate", which translates to "the truth alone triumphs".

In January 2012, it was announced the German Film Orchestra Babelsberg would join KM Music Conservatory musicians in a 100-member concert tour of five Indian cities performing Rahman's compositions. The tour, named "Germany and India 2011-2012: Infinite Opportunities'. Classic Incantations", will mark the centenary of Indian cinema and of Studio Babelsberg, the world's oldest film studio.

In Summer 2012, Rahman composed a Punjabi song for the London Olympics opening ceremony, organised by Danny Boyle. It was part of a medley which showcased Indian influence in the UK, according to Boyle's wishes. Another Indian musician, Ilaiyaraja's song from Tamil-language film Ram Lakshman (1981), has also been chosen as part of the medley.

On 20 December 2012, Rahman released the single "Infinite Love" in both English and Hindi commemorating the last day of the Mayan calendar to spread hope, peace and love.

Film Scoring and Soundtracks

When he was nine, Rahman accidentally played a tune on piano during his father's recording for a film, which R. K. Shekhar later developed into a complete song,

"Vellithen Kinnam Pol", for the Malayalam film Penpada. This track credited to his father, was sung by Jayachandran and penned by Bharanikkavu Sivakumar. His film career began in 1992, when he started Panchathan Record Inn, a music recording and mixing studio attached to the backyard of his house. Over time it would become the most advanced recording studio in India, and arguably one of Asia's most sophisticated and high-tech studios. He initially composed scores for documentaries, jingles for advertisements and Indian Television channels and other projects.

In 1987 Rahman, then still known as Dileep got his first opportunity to compose jingles for new range of watches being launched by Allwyn. In 1992, he was approached by film director Mani Ratnam to compose the score and soundtrack for Ratnam's Tamil film Roja. During the filming, it's Cinematographer Santosh Sivan signed A. R. Rahman up for the Malayalam movie Yodha, directed by his brother Sangeeth Sivan released later in September 1992.

The debut led Rahman to receive the Rajat Kamal (Silver Lotus) award for Best Music Director at the National Film Awards, an unprecedented win for a first-time film composer. Rahman has since been awarded the Silver Lotus three more times for Minsara Kanavu (Tamil) in 1997, Lagaan (Hindi) in 2002, Kannathil Muthamittal (Tamil) in 2003, the most ever by any composer.

Roja's score met with high sales and acclaim in both its original and dubbed versions, led by the theme song "Chinna Chinna Aasai" bringing about a marked change in film music at the time. Rahman has worked with Indian poets and lyricists such as Javed Akhtar, Gulzar, Vairamuthu and Vaali.

He has consistently produced commercially successful soundtracks when collaborating with particular film directors such as Mani Ratnam, who he has worked with since Roja, and the director S. Shankar in the films Gentleman, Kadhalan, Indian, Jeans, Mudhalvan, Nayak, Boys, Sivaji and lately for Enthiran. In 2005, Rahman extended his Panchathan Record Inn studio by establishing AM Studios in Kodambakkam, Chennai, thereby creating the most cutting-edge studio in Asia.

In 2006, Rahman launched his own music label, KM Music. Its first release was his score to the film Sillunu Oru Kaadhal. Rahman scored the Mandarin language picture Warriors of Heaven and Earth in 2003 after researching and utilising Chinese and Japanese classical music, and won the Just Plain Folks Music Award For Best Music Album for his score of the 2006 film Varalaru (God Father).

He co-scored the Shekhar Kapur project and his first British film, Elizabeth: The Golden Age, in 2007. He garnered an Asian Film Award nomination for Best Composer at the Hong Kong International Film Festival for his Jodhaa Akbar score. His compositions have been sampled for other scores within India, and appeared in such films as Inside Man, Lord of War, Divine Intervention and The Accidental Husband.

In 2008, Rahman scored his first Hollywood picture, the comedy Couples Retreat released the next year, which won him the BMI London Award for Best Score. Rahman scored the film Slumdog Millionaire in 2008, for which he won a Golden Globe and two Academy Awards, becoming the first Asian to do so. The songs "Jai Ho" and "O...Saya" from the soundtrack of this film met with commercial success internationally.

In 2010, Rahman composed scores for the romance film Vinnaithaandi Varuvaayaa, blockbuster sci-fi romance film Enthiran and Danny Boyle's 127 Hours. Rahman started off the year 2011 by scoring Imtiaz Ali's musical film Rockstar. The soundtrack became a phenomenal success and earned Rahman immense critical praise.

Music Style and Impact

Skilled in Carnatic music, Western classical, Hindustani music and the Qawwali style of Nusrat Fateh Ali Khan, Rahman has been noted to write film songs that amalgamate elements of these music systems and other genres, layering instruments from differing music idioms in an improvisatory manner.

Symphonic orchestral themes have accompanied his scores, occasionally employing leitmotif. In the 1980s, Rahman recorded and played arrangements on monophonic sound, synonymous with the era of his musical predecessors K. V. Mahadevan and Vishwanathan–Ramamoorthy. In later years his methodology changed as he experimented with the fusion of traditional instruments with new electronic sounds and technology.

Rahman's musical interests and outlook stem from his love of experimentation. Rahman's compositions, in the vein of past and contemporary Chennai film composers, bring out auteuristic uses of counterpoint, orchestration and the human voice, melding Indian pop music with unique timbre, forms and instrumentation. By virtue of these qualities, broad ranging lyrics and his syncretic style, the appeal of his music cuts across the spectrum of classes and cultures within Indian society. His first soundtrack for Roja was listed in Time's "10 Best Soundtracks" of all time in 2005. Film critic Richard Corliss felt the "astonishing debut work parades Rahman's gift for alchemizing outside influences until they are totally Tamil, totally Rahman." Rahman's initial global reach is attributed to the South Asian diaspora. The music producer Ron Fair considers Rahman to be "one of the world's great living composers in any medium".

The director Baz Luhrmann notes
" I had come to the music of A. R. Rahman through the emotional and haunting score of Bombay and the wit and celebration of Lagaan. But the more of AR's music I encountered the more I was to be amazed at the sheer diversity of styles: from swinging brass bands to triumphant anthems; from joyous pop to West-End musicals. Whatever the style, A. R. Rahman's music always possesses a profound sense of humanity and spirit, qualities that inspire me the most." Rahman has introduced the 7.1 technology in south Indian movies to provide better output.

A. R. Rahman is an Indian composer, singer-songwriter, music producer, musician, multi-instrumentalist and philanthropist.

Described as the world's most prominent and prolific film composer by Time, his works are notable for integrating Eastern classical music with electronic music sounds, world music genres and traditional orchestral arrangements.

He has won two Academy Awards, two Grammy Awards, a BAFTA Award, a Golden Globe, four National Film Awards, fifteen Filmfare Awards and thirteen Filmfare Awards South in addition to numerous other awards and nominations.

His extensive body of work for film and the stage earned him the nickname "the Mozart of Madras" and several Tamil commentators and fans have coined him the nickname Isai Puyal (English: Music Storm). In 2009, Time placed Rahman in its list of World's Most Influential People.

The UK based World Music magazine Songlines named him one of 'Tomorrow's World Music Icons' in August 2011. Having set up his own in-house studio called Panchathan Record Inn at Chennai, arguably one of Asia's most sophisticated and high-tech studios, Rahman's film scoring career began in the early 1990s with the Tamil film Roja.

Working in India's various film industries, international cinema and theatre, Rahman is one of the world's all-time top selling recording artists. In a notable career spanning two decades, Rahman has garnered particular acclaim for redefining contemporary Indian film music and thus contributing to the success of several films.

Rahman is currently one of the highest paid composers of the motion picture industry. He is a notable humanitarian and philanthropist, donating and raising money for beneficial causes and supporting charities.

Is Music the Key to Success?

CONDOLEEZZA RICE trained to be a concert pianist. Alan Greenspan, former chairman of the Federal Reserve, was a professional clarinet and saxophone player. The hedge fund billionaire Bruce Kovner is a pianist who took classes at Juilliard.

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Anna Parini

Multiple studies link music study to academic achievement. But what is it about serious music training that seems to correlate with outsize success in other fields?

The connection isn’t a coincidence. I know because I asked. I put the question to top-flight professionals in industries from tech to finance to media, all of whom had serious (if often little-known) past lives as musicians. Almost all made a connection between their music training and their professional achievements.

The phenomenon extends beyond the math-music association. Strikingly, many high achievers told me music opened up the pathways to creative thinking. And their experiences suggest that music training sharpens other qualities: Collaboration. The ability to listen. A way of thinking that weaves together disparate ideas. The power to focus on the present and the future simultaneously.

Will your school music program turn your kid into a Paul Allen, the billionaire co-founder of Microsoft (guitar)? Or a Woody Allen (clarinet)? Probably not. These are singular achievers. But the way these and other visionaries I spoke to process music is intriguing. As is the way many of them apply music’s lessons of focus and discipline into new ways of thinking and communicating — even problem solving.

Look carefully and you’ll find musicians at the top of almost any industry. Woody Allen performs weekly with a jazz band. The television broadcaster Paula Zahn (cello) and the NBC chief White House correspondent Chuck Todd (French horn) attended college on music scholarships; NBC’s Andrea Mitchell trained to become a professional violinist. Both Microsoft’s Mr. Allen and the venture capitalist Roger McNamee have rock bands. Larry Page, a co-founder of Google, played saxophone in high school. Steven Spielberg is a clarinetist and son of a pianist. The former World Bank president James D. Wolfensohn has played cello at Carnegie Hall.

“It’s not a coincidence,” says Mr. Greenspan, who gave up jazz clarinet but still dabbles at the baby grand in his living room. “I can tell you as a statistician, the probability that that is mere chance is extremely small.” The cautious former Fed chief adds, “That’s all that you can judge about the facts. The crucial question is: why does that connection exist?”

Paul Allen offers an answer. He says music “reinforces your confidence in the ability to create.” Mr. Allen began playing the violin at age 7 and switched to the guitar as a teenager. Even in the early days of Microsoft, he would pick up his guitar at the end of marathon days of programming. The music was the emotional analog to his day job, with each channeling a different type of creative impulse. In both, he says, “something is pushing you to look beyond what currently exists and express yourself in a new way.”

Mr. Todd says there is a connection between years of practice and competition and what he calls the “drive for perfection.” The veteran advertising executive Steve Hayden credits his background as a cellist for his most famous work, the Apple “1984” commercial depicting rebellion against a dictator. “I was thinking of Stravinsky when I came up with that idea,” he says. He adds that his cello performance background helps him work collaboratively: “Ensemble playing trains you, quite literally, to play well with others, to know when to solo and when to follow.”

For many of the high achievers I spoke with, music functions as a “hidden language,” as Mr. Wolfensohn calls it, one that enhances the ability to connect disparate or even contradictory ideas. When he ran the World Bank, Mr. Wolfensohn traveled to more than 100 countries, often taking in local performances (and occasionally joining in on a borrowed cello), which helped him understand “the culture of people, as distinct from their balance sheet.”

It’s in that context that the much-discussed connection between math and music resonates most. Both are at heart modes of expression. Bruce Kovner, the founder of the hedge fund Caxton Associates and chairman of the board of Juilliard, says he sees similarities between his piano playing and investing strategy; as he says, both “relate to pattern recognition, and some people extend these paradigms across different senses.”

Mr. Kovner and the concert pianist Robert Taub both describe a sort of synesthesia — they perceive patterns in a three-dimensional way. Mr. Taub, who gained fame for his Beethoven recordings and has since founded a music software company, MuseAmi, says that when he performs, he can “visualize all of the notes and their interrelationships,” a skill that translates intellectually into making “multiple connections in multiple spheres.”

For others I spoke to, their passion for music is more notable than their talent. Woody Allen told me bluntly, “I’m not an accomplished musician. I get total traction from the fact that I’m in movies.”

Mr. Allen sees music as a diversion, unconnected to his day job. He likens himself to “a weekend tennis player who comes in once a week to play. I don’t have a particularly good ear at all or a particularly good sense of timing. In comedy, I’ve got a good instinct for rhythm. In music, I don’t, really.”

Still, he practices the clarinet at least half an hour every day, because wind players will lose their embouchure (mouth position) if they don’t: “If you want to play at all you have to practice. I have to practice every single day to be as bad as I am.” He performs regularly, even touring internationally with his New Orleans jazz band. “I never thought I would be playing in concert halls of the world to 5,000, 6,000 people,” he says. “I will say, quite unexpectedly, it enriched my life tremendously.”

Music provides balance, explains Mr. Wolfensohn, who began cello lessons as an adult. “You aren’t trying to win any races or be the leader of this or the leader of that. You’re enjoying it because of the satisfaction and joy you get out of music, which is totally unrelated to your professional status.”

For Roger McNamee, whose Elevation Partners is perhaps best known for its early investment in Facebook, “music and technology have converged,” he says. He became expert on Facebook by using it to promote his band, Moonalice, and now is focusing on video by live-streaming its concerts. He says musicians and top professionals share “the almost desperate need to dive deep.” This capacity to obsess seems to unite top performers in music and other fields.

Ms. Zahn remembers spending up to four hours a day “holed up in cramped practice rooms trying to master a phrase” on her cello. Mr. Todd, now 41, recounted in detail the solo audition at age 17 when he got the second-highest mark rather than the highest mark — though he still was principal horn in Florida’s All-State Orchestra.

“I’ve always believed the reason I’ve gotten ahead is by outworking other people,” he says. It’s a skill learned by “playing that solo one more time, working on that one little section one more time,” and it translates into “working on something over and over again, or double-checking or triple-checking.” He adds, “There’s nothing like music to teach you that eventually if you work hard enough, it does get better. You see the results.”

That’s an observation worth remembering at a time when music as a serious pursuit — and music education — is in decline in this country.

Consider the qualities these high achievers say music has sharpened: collaboration, creativity, discipline and the capacity to reconcile conflicting ideas. All are qualities notably absent from public life. Music may not make you a genius, or rich, or even a better person. But it helps train you to think differently, to process different points of view — and most important, to take pleasure in listening.

AR Rahman, Muhammad Ali Clay conferred Jewels of Muslim World Award

Kuala Lumpur: The Organisation of Islamic Cooperation (OIC) on Wednesday honoured famous Indian music composer A R Rehman and boxing great Muhammad Ali, along with 08 other outstanding Muslims, by conferring on them the Jewels of the Muslim World Award.

The awards were given away by Malaysian Minister for Trade and Industry Najib Tun Razaq at a glittering function organised in conjunction with the OIC World Muslim Biz at Putra World Centre here on Wednesday, Khaleej Times reported.

The other recipients of the award are boxing great Muhammad Ali, OIC Secretary General Prof Ekmeleddin Ishanoglu, AmBank group chairman Azman Hashim, Sapura Group president Shahril Shamsuddin, Petrofact Group chief executive Ayman Asfari, Malaysian Indian Goldsmiths and Jewellers President Haji Abdul Rasull Bin Abdul Razak, International Islamic University Rector Dr Zaleha Kamaruddin, Hassad Export Co president Asadollah Asgar and Palestine Ambassador to Malaysia Abdelaziz Abughoush.

While Rehman and Muhammed Ali were not present to receive the award, that of Ishanoglu and Ayman Asfari were received by their representatives.

In a video speech, Rehman thanked the organisers for selecting him for the prestigious honour.

The award was instituted by the OIC Today magazine to serve as an inspiration to the younger generation and to enhance the image of the Muslims globally as productive and capable participants in the global economy.

The award committee noted that Rehman had enhanced the Muslim prestige by winning the Oscar twice and getting the nomination five times.

The music composer, who redefined the Indian music, was hailed by Time magazine as the 'Mozart of Madras'.

As for Muhammad Ali, the committee said the greatest boxer had never failed to promote Islam as the faith he believes in. He has influenced millions of people across the world by his insight and persistence.

Looking forward to work with Shekhar Kapur in Paani: AR Rahman

Oscar winning music composer AR Rahaman feels Shekhar Kapur's upcoming directorial venture "Paani" is a film with a good intention and he is looking forward to working with the filmmaker.

"It is finally happening. I think it is a very exaggerated project. Shekhar is the thinker, a visionary. I have learnt so much from him. I think 'Paani' has a very good intention as a movie. Looking forward to that," said Rahman, who has previously composed music for Kapur's 2007 film "Elizabeth: The Golden Age".

"Paani" is set in the future where wars over water have broken out. The plot revolves around how international corporations use thirst as a weapon of control.

In one such future city, a young couple breaks all the rules and in the ensuing war, water flows back to its people. The film will be shot in India and overseas. The film produced by Aditya Chopra, is likely to go on floors by mid-2014.

Rahman is also excited about his next international venture, an animated movie, which will also mark his debut as a producer. "The one I am doing right now is a animation movie by Dreamworks. I am actually there as the executive producer of the movie and composer," he said.

Rahman is currently in the city for his concert 'Rahmanishq', which is on October 1. The composer is performing in Kolkata after a gap of 10 years, and he said he loves to perform in front of the people here. "I first came to Kolkata in 2003. The energy that Kolkata gave me still rings in me. Whenever people ask me which is the best place, where I had performed, I always say it is Kolkata," he said.

Rain stops for the rockstar Hat-trick concert strikes right note

The rain is relentless. The Puja spirit is damp. The rupee is ravaged. Trust three hours of RahmanIshq to set the mood right.

A.R. Rahman scored a hat-trick on Tuesday evening with his third Calcutta concert in 10 years sending the Salt Lake Stadium crowd into fits of ecstasy.

If the 2003 The Telegraph Unity of Light concert was his first ever show, the 2013 Celkon RahmanIshq, in partnership with The Telegraph, saw the double Oscar and Grammy winner singing in Bengali on stage for the very first time. That too Tagore. If Shah Rukh Khan had recited Where the mind is without fear at the IPL opening ceremony at the same venue six months back, Rahman sang the original Bengali lines on Tuesday night: Chitto jetha bhoy shunnyo, uchcho jetha shir.

Rahman had appeared on stage minutes back with a Shah Rukh song! Dil se re... It was 7.10pm in a very dark Salt Lake Stadium, still a light drizzle in the air, when suddenly a flurry of lights set the stage ablaze and there he was, back to the audience, in the middle of red smoke. Ek suraj nikla tha…and he turned around towards the erupting crowd.

His most favourite audience in the whole wide world, Rahman called Calcutta “unbelievable” to have come out in the rain to watch him perform. “Enjoy the show,” he flashed that almost angelic smile, before appearing in a lit-up blazer, reminiscent of Amitabh Bachchan’s light bulb coat of Yaarana, which was shot many nights ago at Netaji Indoor Stadium.

Besides Rahman, the stars for the night were Sukhwinder Singh, Javed Ali and Neeti Mohan. FromRamta jogi (Taal) to Chaiyya chaiyya (Dil Se), the almost unrecognisable Sukhvinder — with a golden crop of hair — got the crowd going. Rahman and Sukhi (as he kept calling him) also gave everyone “a sneak peek of what they do in the studio” with a very acoustic version of Aayo re sakhi (Water) with master flautist Naveen Kumar joining in.

Javed sang Tum tak (Raanjhanaa) and Jashn-e-bahaara (Jodhaa Akbar) while Neeti did a “bhishon nomoshkar” to the crowd before belting out Jiya re (Jab Tak Hai Jaan).

But all pairs of eyes tracked Rahman. Whether he was quietly fanning himself with the pages of notations behind the grand piano or going berserk on the continuum piano at the end of Rehna tu hai jaisa tu (Delhi-6).

One of the best sections of the show had Rahman sitting on the harmonium in a very dargah-like setting and singing his Sufi set of Arziyan (Delhi-6), Kun faya kun (Rockstar) and Khwaja mere khwaja (Jodhaa Akbar). While many songs for the evening were curtailed to a stanza or two, these spiritual tracks were sung in full. Kun faya kun lasted eight minutes.

A far cry from the shy boy from down south who only wore check shirts and striped T-shirts, Rahman was adventurous with his on-stage costumes — from silver jackets to zardozi-bordered kurtas. “My wife does all the shopping for me,” Rahman had said earlier, with a smile.

Compared to his last Calcutta concert in 2009, which had a more populist playlist replete with songs from Bombay and Roja, Tuesday’s show saw a more eclectic bunch of songs comprising a lot of his recent works, including six songs from Raanjhanaa.

And as Rahman himself had said, “only I can do what I want with my songs”. He literally gave the Calcutta crowd very different sounding versions of their favourite tracks. Like Ranjit Barot, also the musical director and drummer for the show (no Sivamani around, sadly), crooned a very staccato Jo bhi main (Rockstar). And Rahman sang the Bombay Dreams ditty How many stars have to shine before your eyes meet mine as a prelude to Ishq bina kya jeena (Taal).

While the likes of Mohit Chauhan and Hariharan were sorely missed, other singers stepping in meant completely fresh renditions of much-heard songs. Like Neeti’s version of Nenjukulle (Kadal) or Shweta Pandit’s take on Tum ho (Rockstar).

The entire singing team got together for Jai ho, the Slumdog Millionaire song that won the little big man all the international glory in 2009.

The pre-show playlist doing the rounds didn’t have it, but no Rahman concert can be complete without it. Can it?

By the time Rahman’s Vande Mataram brought the concert to a close, Calcutta had again “felt the love”.

Not just through all the razzmatazz and the high production values and the gorgeous fireworks in the end. But that piercing voice and his enchanting melodies which have only grown since their inception.

And in the middle somewhere, Rahman did replace the words Mustafa Mustafa with Kolkata Kolkata— “Don’t worry... Hum hain tumhaare...” — assuring the fandom of his lifelong association with the city.

Indian music industry reaping benefits of digitisation: AR Rahman

Kolkata: Twin Grammy and Academy Awards winner AR Rahman is a firm believer in the amalgamation of technology and talent. The maestro asserts that the Indian music industry is reaping the benefits of digitisation, contrary to the notion that technology has negative effects.

Set to enthrall audiences in Kolkata - the first city on his month-long 'Rahmanishq' tour that begins Tuesday - Rahman is in favour of digitisation sweeping the music industry. He asserts that it has not only made music of all forms accessible to listeners but has also simplified the process of making music for composers.

"Hordes of music purists love to spend endless hours going on and on about how the age of digital music has completely ruined the art form, and that real music only exists in small, underground scenes," Rahman told IANS in an e-mail interview.

"However, the reality stands that thanks to these technological breakthroughs, for both the music fan and the music maker, the creative process and the act of listening to music are now easier, less constrained and more accessible than ever before," Rahman noted.

"We are living in a society that is dominated by the digital age. So it is a natural progression that almost every element beautifully syncs together. We need to move beyond album covers," he observed.

Touring through Kolkata, Visakhapatnam, Jaipur and Ahmedabad from Oct 1 to 27, 'Rahmanishq' will give fans a chance to experience Rahman at his best - musically and technologically. A blend of hits spanning two decades will be belted out to spectators during a three-hour format.

"The concert capitalises on innovative never-seen-before technology, so that the audience can be overwhelmed with such knowhow at every stage of the concert...for an audience that will range from teenagers to senior citizens. The music is a reflection of two different generations," said Rahman.

Moreover, each city will have something different to look forward to from the versatile artist.

"For Jaipur, I will bring in an element that highlights royalty..for Ahmedabad I will bring in an element that highlights folk dance..for Kolkata I will bring an element that highlights literature and for Vizag, I will bring in an element that highlights mythology."

At ease on the stage as well as in the recording studio, the Padma Bhushan recipient noted that in India, there is a 'considerable gap' that needs to be bridged to be at par with the global live-act scene.

Banking on the 'professional channelisation' of the enormous talent pool in the country, Rahman envisaged an independent music industry like the film industry. He reckoned film music 'is going to be one of the biggest industries in the world.'

"In India, we have a pool of talent which requires professional channelisation to make this industry as colossal and independent as the film industry. While India has singers in every street, many of them performing the Carnatic, or classical Indian music variety, the future lies in Indian cinema."

In praise of youngsters making it big in the industry, the prolific composer, however, was wary of the 'congestion' that has crept in.

"It's great to see many young guns taking the lead and creating music that was unknown at one point of time. There's enough room for all," said Rahman, who insists on singers having a distinct identity.

He said: "So with changing lifestyle, music is also revolutionising to connect with the audience. I feel there's congestion. Just anybody can sing and it's done just like a fad rather than with dedication. Songs don't have an identity and you feel who just sang that song? He sounds like someone else."

Loved by audiences for juxtaposing different musical styles, Rahman, who became the first Indian to win the Golden Globe Award in 2009 - for best original musical score in Danny Boyle's movie 'Slumdog Millionaire' - prefers to treat music as a collaboration between Indian and western styles, instead of distinct entities. "There's nothing controversial in merging two musical styles as long as it is appealing to the ears. Music for me is a merger of styles from two different worlds, East and West, and not as separate classifications. In fact, I would like to look at Hollywood and Bollywood being great learning platforms, with each industry teaching me a novel chapter," he clarified.

"In India, we love melodies in the background of scenes. In the West there is a sense that soundtracks should not distract, and hence there is a greater preference for ambient sounds and plain chords. I find myself stuck between the traditional and modern styles of music."