Ilaiyaraaja was one of the Music good articles, but it has been removed from the list. There are suggestions below for improving the article to meet the good article criteria. Once these issues have been addressed, the article can be renominated. Editors may also seek a reassessment of the decision if they believe there was a mistake. | |||||||||||||||||||||||||||||||
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To-do:
Updated 2021-08-12
But first... the goals: The overarching goal is to turn this into a Featured Article. We should bear in mind that whilst we contribute/add to this article we ensure that it meets/remains within the FA requirements. Another vital endeavour is to get as many contributors as possible to participate. AppleJuggler 02:26, 7 August 2006 (UTC)
These may need to be reduced, fair-use justification given for each clip, and music clips could be put next to relevant paragraph in text in boxes. AppleJuggler 04:08, 16 March 2007 (UTC)
We need subject-matter experts. More can be written about the subject's early years (how did he grew up etc.), the era just before Ilaiyaraaja's entry into film direction (how was it, what was happening to the film music industry, was it stagnating?) and perhaps more detail about the period 1976 to mid-1980s (the period of his ascendency as a top film music director). Can something be said about the ubiquity of his music (how regularly are they played or heard in India or abroad, such as in Malaysian radio stations and music shows -- in other words, who are the audience of his music)? These are just a few suggestions. I'm sure editors/writers who give good thought about this subject could come up with other worthwhile information to include. AppleJuggler 03:48, 16 November 2006 (UTC)
Again, something for a subject-matter expert to consider. Facts, such as his parents' names and the number of the subject's siblings, need to be verified. If possible, sources could be cited for these. AppleJuggler 03:45, 19 November 2006 (UTC)
A third subject-matter issue. The composer's songs has various moods, depending on the film scenes concerned. Some songs deal with motherly love and expressions of gratitude towards mothers (e.g., Amma from the film Mannan (1992)); a number are folk songs: folk songs driven by Indian percussions (the mandolin-and-saxophone-tinged Nila Athu from the film Nayakan and Kattu Kuyilu from Thalapathi (1991)), folk songs with quasi-Afro tribal beats (e.g., Aasaya Katrula from the Johnny (1980)); playful songs for scenes depicting village celebration/festival that fall under the Dappaankuthu musical style; songs in minor keys that express pathos and are classified as 'sad' songs (e.g., Chittuku Chella Chittuku from the film Nallavanukku Nallavan (1984), Aarariro from Thaaikku Oru Thaalattu (1986)); religious/devotional songs; upbeat and exuberant songs designed to, e.g., glorify the hero of a film or capture his rapture (e.g., the ecstatic Oru Nayagan Uthayamagiraan from director Bhagyaraj's film Thavani Kanuvugal (1983)) and Ninaichu Ninaichu from the film Sethu (1999)); psychadelic songs (e.g., Vaanam Keezhe Vandhal Enna from Thoongadhey Thambi Thoongadhey (1983)); dance tracks (e.g., Hey Unnaithane from Kaathal Parisu (1987)); and songs with funk, disco (the Earth, Wind and Fire-esque Ilamai Itho from Sakalakalavallavan (1982)), march (Raja Kaiyya Vecha from Apoorva Sagodharargal (1989)), doo-wop (Pudhu Mappilaiku from Apoorva Sagodharargal), Western folk (Ponmaane Theduthey from Oh Maane Maane (1984)) and 'romantic' pop flavours, embellished by lush orchestration, but which are all nonetheless tied together by a definite Indian quality. Perhaps a section could be developed to describe these with some analysis using selected songs. Separately, perhaps we can talk about the variety of vocal ornamentation (vibrato, trills, melisma, and other nuances) required by Ilaiyaraaja of his playback singers in singing his songs. Elaboration required on his background music work for films. AppleJuggler 03:55, 19 November 2006 (UTC)
For example, most of his songs have a A1-B-A2-B pattern (where A1 is an instrumental prelude, A2 an instrumental interlude and B vocal sections) though this is not always the case. Then there are songs with an B-A2-B-A3-B form (A2 being interlude #1, and A3 interlude #3, a different interlude) or an A1-B-A2-B-A3-B-A1 form (in Poove Senpoove) or an A1-B1-A2-B2-A3a-B1-A3b-B2-B1 form (where 3a and 3b have similar structure but different instrumental arrangements, as in Potta Padiyuthu Thota), whereas the regular B-A2-B form is not that common amongst Ilaiyaraaja's songs. Such an analysis was done by someone for the band Queen which can be found here and here. Can we include something that discusses this? AppleJuggler 13:51, 21 November 2006 (UTC)
Could a good editor/proofreader deal with this? Thanks AppleJuggler 06:25, 16 November 2006 (UTC)
There may be more comments added from time to time here. -- Ganeshk (talk) 00:48, 19 November 2006 (UTC) |