Rabindranath Tagore

Rabindranath Tagore

Summary

Portrait of Rabindranath Tagore Rabindranath Tagore Oriental and Occidental Music (1914)

European music is, as it were, strangely entwined with the actualities of life, so it becomes easy to connect the air or a song with the multiform experiences of life. An attempt to do the same without music would be fatuous, and the result most unwelcome. Our music transcends the precincts of every-day life, so there is to be found so much of tenderness and indifference to worldly joys and sorrows—as if it is ordained to reveal the glory of the innermost and inexplicable mystery that surrounds the soul of man and of the universe.
Source: Wikisource

Portrait of Rabindranath Tagore Rabindranath Tagore Oriental and Occidental Music (1914)

Music, on the whole, is not dependent on words. It Is majestically grand in its own glory. Why should it condescend to be subservient to words? When it is inexpressible, then music is at its best. What words foil to convey to human mind music does with perfect ease. So the less there is of verbosity in a song, the better it is for the song itself. Music begins when words end.
Source: Wikisource

Portrait of Rabindranath Tagore Rabindranath Tagore Oriental and Occidental Music (1914)

In our country the connoisseurs of music do not mind the defects in presentations, for they create in their imagination the ideal as they listen to a song, and in this creation find perfect joy. It is for this that they look with disdain upon the supposed perfection of a song sung only in a sweet voice. The real nature of the thing finds its fullest expression in its original beauty through outward harshness and comparative imperfection.
Source: Wikisource

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