If a successful and busy Karnatic singer takes time off in order to write reflections on South Indian or “Karnatic” music, the book release function is bound to be met with considerable interest. […]
He pays tribute to the tambura (the tanpura) as “the life-giver, the soul of our music”. For Krishna, “it is the one instrument that can be said to hold within itself the very essence of classical music. So unobtrusive is this instrument, so self-effacing in its positioning on the stage and so tender of nature, that it is almost taken for granted.” Sadly, the tambura is rarely played “live” even during live concerts where it tends to be drowned by its electronic surrogate with devastating effect. Restoring its presence would seem indispensable in efforts such as those outlined under two chapter headings, “To Remove the Barriers Imposed by the Music” and “To Expand the Listenership of Karnatic Music”. The very concept of “fusion” is dismissed as a “lopsided idea of the music.” […]
The fact that 15 out of 588 pages are assigned to an Index is welcome in view of the publisher’s ambition to provide readers with a “path-breaking overview of South Indian classical music.” A mere glance at the Contents page and Index proves that, as in his concerts, T.M. Krishna would take nothing for granted, starting with instructions titled “A Note on Reading”. […]
Source: Book review by Ludwig Pesch, The Telegraph (Calcutta) Address : http://www.telegraphindia.com/1140228/jsp/opinion/story_18023416.jsp#.UxC3W16kAfl
I am working on a new composition for a singer, to be premiered in the States which is based on the Indian Konnakol (rhythms). I am also working on arrangements as well as original compositions for chinese orchestra (with Jeremy Monteiro) and bands. […] Growing up in Singapore meant that influences from different cultures were inevitable. Embracing different musical languages became a natural progression of my creativity. […] I am completely immersed in a “musical life”. I have recently gotten married and so family time is important, but out of the classroom and beyond Jazz, I am also caught spending time with little side projects and musical hobbies (if you consider playing an instrument for 10 years a “hobby”) such as practicing and performing on Indian instruments such as the Mridangam.
*Solfège sol-fa, solfa, solfeo, among many names, is a music education method used to teach aural skills, pitch and sight-reading of Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably.