A new-age ala’app’

At a recent music festival in Delhi, when Indian classical vocalist Vidya Shah performed with an iPad by her side, it drew several wide-eyed stares from members in the audience. Apparently, the jugalbandi of Indian classical and modern technology seemed blasphemous to many. The mismatch of wavelengths, however, hasn’t been a deterrent for musicians who are marrying mobile apps with ragas and their alaaps to create rhythm divine.
Besides the 500 metronome and 650 tuner apps available on iTunes, musicians are choosing from over 600 apps which are easily accessible on smart gadgets. Sitarist and music geek Purbayan Chatterjee, who swears by apps like the GarageBand, MIDI Trigger and beat machines, says, “These apps are very convenient. I could be waiting at Frankfurt’s airport lounge, but when a tune comes to my mind, I can make the basic layout on my iPad with the iTanpura. Consequently, I can import the tune to a normal mac and work on the song.”
Percussionist Bickram Ghosh, a fan of the iTanpura and iTabla, echoes similar views as he says, “These apps are way better than the battery operated tanpuras. They offer a steady tone and there’s hardly any fluctuation.” Bickram adds that he has also been scoring film music using the apps!
Even traditional classical musicians are promoting these apps saying these save them the trouble of lugging along heavy instruments across continents for their shows. Says vocalist Ritesh Mishra, “We frequently use music apps on our smartphones — even during our performances.” He shares that his father and uncle, renowned vo c a l i s t duo Rajan-S a j a n M i s h r a , also use m o b i l e apps, but strictly for riyaaz. On a similar note, sarod exponent Ayaan Ali Khan says, “We use the iTanpura frequently, but only for rehearsals. We don’t use it on stage.”
Sarod maestro Tejendra Narayan Majumdar, who has been using iTanpura and chromatic tuner on his android device, is also unwilling to let synthetic sounds interfere with his performance.
Quality and tradition cannot be compromised,” he says vehemently, adding, “Technology can be useful when it comes to fusion music, but nothing compares to the sound produced by original instruments.” So, inspite of using the fretless bass sarod for a full fledged alaap recently, Pt Tejendranarayan is unwilling to let further experimentation get in the way of traditional compositions.
Purbayan, however, feels that such new-age technologies can prove to be ‘instrumental’ in preserving India’s musical culture. He says, “A word for naysayers, ensuring that music remains ‘pure’ doesn’t mean one has to ignore technology. Apps use the same principles as musical instruments. So, the content is always pure, the context can be changed. I feel, it’s an individual choice and has nothing to do with generation gap. In fact, I’m aware of maestros like Zakir Hussain who are open to these apps.”
Incidentally, the practical advantages of these apps — no noise factor, easy notes reading and error-free page turning programme, accessibility and mobility and the availablity of backup, recording and rehearsal options — have been wooing musicians across the globe. Shares Susan Chu whose son, Bryan, plays cello for the North Carolina State Orchestra, USA, “My son’s music teacher uses a horde of apps to teach the kids. I have downloaded quite a few to help him practice at home.”
But as Purbayan puts it, just like a computer can do a spell check and not write an article, an app can offer support, but can’t substitute for a musician.