Chapter 9 — My World of Music

Think about a single day. You may wake up to a ringtone, hear a bhajan from a neighbour's house or temple, sing the national anthem at school assembly, hum a film song on the way home, notice a jingle in a television advertisement, and watch a cricket match where the crowd chants and drums. Music is present in a huge variety of contexts, often without our noticing.

Contexts where music appears.

Notice that in each context the purpose changes how the music is made. A lullaby is slow and soft because its purpose is to calm. A sports anthem is loud and rhythmic because its purpose is to excite and unite a crowd. A jingle is short and catchy because its purpose is to be remembered. When you study a piece of music, asking 'what is it for?' explains many of its features.

Music journal activity. For one full day, keep a music log. Every time you hear music, note the time, place, what kind of music it was and what you think its purpose was. At the end of the day, count how many times you heard music and in how many different contexts. Most students are surprised by the total.

Discuss. Which of these kinds of music did you choose to hear, and which did you hear without choosing? How does background music in shops or lifts affect people? This kind of thinking makes you an active listener rather than a passive one, and prepares you for the rest of this chapter, where you will create music for some of these purposes yourself.

Many traditional songs, both folk and devotional, have found their way into films, pop albums and advertisements. When this happens, the music reaches a huge new audience who might never have heard it otherwise.

Nimbooda Nimbooda is a traditional Rajasthani folk song performed by the Langa and Manganiar communities of western Rajasthan. These hereditary musician communities have kept folk songs alive for generations, performing at weddings, births and festivals for the families who support them. Their music uses instruments such as the kamaicha (a bowed string instrument with a deep, resonant tone), the sarangi, the dholak and the khartal (wooden clappers). The song is playful: a young woman asks for little green lemons (nimbooda) to be brought from the fields. Its lively rhythm and catchy refrain made it ideal for adaptation, and a version was used in a popular Hindi film, after which it became famous across India.

Comparing two versions. When a traditional song is adapted, some things are kept and others change. Listen to a traditional performance and the film version, and compare:

Questions to discuss. What do you like about each version? What was gained by the adaptation, such as reach and popularity? What might be lost, such as the context, the improvisation or the credit to the original musicians? Fair practice means acknowledging the community or artist from whom a traditional song comes.

Learning the song. Learn the refrain first, since it repeats many times. Clap the rhythm, then sing the refrain with the clapping. Add the verses one by one. Pay attention to the Rajasthani words; pronounce them as the original singers do. Manganiar children often perform with their gurus at festivals, showing how these traditions pass from one generation to the next.

India has songs in hundreds of languages and dialects. Learning a song from a region other than your own is a joyful way to discover another culture. Rind Posh Maal is a well-loved song in Kashmiri. It describes the landscape of Kashmir, its beautiful lakes, forests, trees, flowers and mountains, so that everyone can appreciate and know its beauty. Its refrain, with the cheerful words 'shoobi shaabash', invites everyone to join in.

Like many folk and light songs of Kashmir, it is traditionally accompanied by instruments such as the santoor, the rabab, the sarangi and the tumbaknaari, the clay goblet drum you met in the chapter on instruments.

How to learn a song in an unfamiliar language.

• Understand the meaning first. Read a translation or ask someone who speaks the language. Knowing what each line describes helps you sing it with the right feeling.
• Listen many times. Play a recording by a native singer several times before you sing.
• Read the words aloud slowly, line by line, without the tune. Mark difficult sounds. Kashmiri has vowel sounds that are different from Hindi or English; copy the native singer carefully.
• Learn the refrain first. The repeated line is the anchor of the song.
• Add the tune to one line at a time. Clap the rhythm as you go.
• Check with a speaker if possible. Ask a Kashmiri-speaking friend, teacher or family acquaintance to listen and correct your pronunciation.

Respect for the language. When you sing in someone else's language, you are a guest in their culture. Try hard to pronounce words correctly, never mock unfamiliar sounds, and learn the meaning so you are not singing empty sounds.

Compare with your own region. Many regions have songs that praise their landscape: songs of the Ganga, of the rains in the Western Ghats, of the deserts of Rajasthan or the hills of the North-East. Find one from your own region and compare it with Rind Posh Maal. What features of nature does each song describe? How do the tunes differ in mood?

Judging your singing. Record yourself and play it to a native speaker or alongside the original recording. Are the words clear? Is the refrain in rhythm? Does your voice carry the cheerful mood of the song?

Have you ever found yourself humming a tune from an advertisement? That tune is a jingle: a short song written about a product or brand, designed to be catchy so that people remember the brand. Jingles have been used on radio and television for decades, and many people can still sing jingles from their childhood.

Features of a good jingle.

• Short: usually 15 to 30 seconds.
• A strong hook: one simple, memorable line, often containing the brand name.
• Repetition: the hook or brand name is repeated.
• A simple, singable tune that stays within a narrow range of notes so anyone can hum it.
• A clear rhythm, often bouncy and cheerful.
• A message: one or two features of the product, such as taste, freshness, strength or price.
• Sound effects sometimes, such as a crunch, a fizz or a bell.

How to create your own jingle.

• Choose a product, something you use every day, such as a pencil, a school bag, a toothpaste or a fruit. You can invent a brand name.
• List its features that would make others want to buy it.
• Write the lyrics: three or four short lines that mention the features, plus a hook line with the brand name. Rhyme helps people remember.
• Set the words to a tune or rhythm. Hum different tunes until one fits the words naturally. Keep it simple.
• Add sound effects or body percussion if you like.
• Time it: keep it between 15 and 30 seconds.
• Share it with the class.

As an extra activity, design an advertisement poster for your product using the tagline from your jingle.

Think critically. Jingles are designed to persuade. As a listener, ask: Is the jingle telling me facts about the product, or only making me feel good? Being aware of how music is used to influence us helps us make thoughtful choices as consumers. Also, an advertisement should never make false claims; your jingle should describe your product honestly.

Judging your jingle. Is it within the time limit? Can a classmate hum the hook after hearing it twice? Is the brand name clear? Does it mention at least one real feature?

Music is also used to create identity and feeling at large events and in films.

Sports events. Major sporting events such as Khelo India and the Olympic Games have their own signature tunes and theme songs. Football World Cups, cricket leagues and the Commonwealth Games all commission official songs. These tunes:

• Create a feeling of community among the people attending or watching, wherever they come from.
• Give the event a recognisable identity; hearing the tune instantly reminds people of the event.
• Build excitement before a match and celebration after a win.

Sports theme songs usually have strong drums, a rising melody, a chorus that crowds can sing, and lyrics about effort, unity and victory. In stadiums, fans also create their own music: chants, drums and clapping patterns that spread through the crowd.

Films. In films, music works in three main ways:

A character theme, sometimes called a leitmotif, is a powerful storytelling tool. After hearing it a few times, the audience connects the tune with the character; later, just a few notes can make them feel the hero is about to arrive, even before the hero is seen. Villains often get low, dark themes, while heroes get bold, rising ones. Indian television serials and films use this technique often.

Listening activity. Watch a short scene from a film or serial with the sound on, then watch it again with the sound off. How different does it feel? This shows how much the background score shapes our emotions.

List and compare. Make a list of sporting events that have theme songs, and note what is common in their music. Then pick a film or serial with a recognisable character theme, and describe its instruments, tempo and mood, and why they suit the character.

Music has always been used to spread messages. Freedom fighters sang patriotic songs, and today songs are used to raise awareness about health, cleanliness, education and the environment.

Music and climate change. Climate change and global warming threaten serious and sometimes irreversible damage to people and the planet: rising temperatures, melting glaciers, floods, droughts and the loss of plants, animals and birds. Each of us must act, individually and together, to protect the environment. Music is one powerful way to spread awareness, because a song carries feeling as well as facts and is easy to remember and share.

One example is the Clean Ganga mission, a project of the Government of India to restore and revitalise the river Ganga. Its theme song, Namami Gange, is available online. Listen to it and notice how the music and words try to create respect and love for the river.

Write a song for change. In this group activity, you write an anthem for a nationally important issue or campaign.

• Form groups of 5-6 students.
• Choose an issue, such as Swachh Bharat (cleanliness), clean rivers, Beti Bachao Beti Padhao (saving and educating girls), saving water, planting trees or reducing plastic.
• List key points you want the song to express: the problem, why it matters, and what people can do.
• Find a chorus or hook line that sums up the message in a few words.
• Write two verses that explore the theme, for example one about the problem and one about the solution.
• Set it to a tune. You can think of a tune first and then fit lyrics to it, or write the lyrics first and then set them to a tune. You may also adapt a tune you remember.
• Refine the song. Sing it through, fix awkward words, check that each syllable fits the rhythm.
• Share it with the class and, if possible, at the school assembly.

Tips for a strong message song. Keep the chorus positive and active, telling people what to do rather than only what is wrong. Use concrete images, such as a plastic bag in a river, rather than vague words. Keep facts accurate. Make it easy for an audience to join in the chorus.

Judging your song. Is the message clear in the chorus? Do the verses explain the issue? Can the audience join in? Did every group member contribute?

If you enjoy music, you might wonder whether it could be your career. Being a singer or instrument player is only one option. Behind every song, concert and film there are many professionals who make the music possible. Two of the most important work in recording and production.

Sound engineer. A sound engineer, also called an audio engineer, is responsible for recording, mixing and reproducing sound, both for live performances and for recordings.

• They use equipment such as microphones, speakers and mixing consoles, and computer software.
• In a studio, they record each voice and instrument, then mix them, adjusting the volume and tone of each so the final sound is balanced.
• At a live concert, they control what the audience hears through the speakers and what the performers hear through monitor speakers on stage.
• Their goal is good-quality sound: clear, balanced, and free from noise or distortion.

A sound engineer needs a sharp ear, knowledge of the science of sound (frequency, resonance and how sound travels in rooms), and technical skill with equipment. Courses in sound engineering are offered by film and media institutes and some universities.

Music producer. A music producer helps artists record their song, album or project. The producer brings the artist's vision to life.

• They help plan the project: which songs, which musicians, what style of arrangement.
• They guide the artist and musicians during recording, suggesting changes to make each part better.
• They make sure the finished product is of good quality and that the artist's plan is carried out successfully.
• They often manage the budget and schedule as well.

A music producer needs strong musical knowledge, a good sense of what will appeal to listeners, the ability to work with people, and organisational skills.

Try it. Use a phone to record a classmate singing in a quiet room and in a noisy corridor. Compare the recordings. You have just discovered the first problem every sound engineer solves: choosing the right space and microphone position.

Three more careers show how widely music connects with business, health and education.

Event manager or curator. An event manager puts together one or more parts of a live concert or festival. The work includes:

• Contacting and selecting artists to perform.
• Promoting the event so that people come.
• Earning revenue through ticket sales and sponsorships.
• Making sure everything the concert needs is in place: venue, sound, lights, seating, permissions, safety and hospitality for artists.

Event managers need excellent planning, communication, problem-solving and teamwork. Music festivals, college fests and large weddings all depend on them.

Music therapist. Music therapists are trained professionals who use music as a tool to relieve pain, manage stress, support mental health and help rehabilitation for their patients or clients. Depending on what the person needs, a therapist may create music, choose and play suitable songs or ragas, or involve the client in active listening and responding to music, such as singing, drumming or moving. Music therapy is a growing field, with many research studies being carried out; it lies at the meeting point of music, science and medicine. Music therapists work in hospitals, special schools, old-age homes and clinics. They need musical skill, training in psychology and therapy, patience and empathy.

Music educator. Music educators teach music in schools, universities, music conservatories or online. Some teach groups or a school choir; others teach selected students one by one. Some even use songs to teach concepts of mathematics and science. To be a music educator you need good knowledge and training in music, and you must enjoy working with people and helping them grow.

Other careers to research. Composer, lyricist, instrument maker or repairer, music journalist or critic, radio presenter, archivist, music app or game designer, choir conductor and many more.

Research a career. Search 'careers in music' with an adult, pick one career, and write a few lines on what the job involves, what training it needs, and your view on whether it suits you. Share your findings with the class.

Reading about careers is useful, but meeting people who do the work teaches far more. Two practical activities take you behind the scenes.

Interviewing a music professional. Do you know an adult who works in music, such as a teacher, a sound technician, a musician, a radio presenter or an event organiser? With the help of your parents or teacher, speak to them about their work.

• Prepare questions in advance: What does a typical day look like? How did you get into this work? What training did you need? What do you enjoy most, and what is hardest? What advice would you give a student?
• If possible, ask whether you could shadow them for half a day to see their work first-hand.
• Take notes or, with permission, record the conversation.
• Thank them afterwards and share what you learned with your class and teacher.
• Reflect: would you like a career in music? Why or why not?

Volunteering and event promotion. Another way to learn is to volunteer to help a local musician or music presenter at an event, with your school's permission. Recall the stages of organising an event: planning, booking the venue, arranging artists, sound and light, promotion, ticketing, the event itself and the follow-up.

Your special task is to design a promotion plan: how will you spread the word in a way that interests people of your age?

Submit your promotion plan to your teacher and to the musician or organiser for approval before using it. Then ask whether you can also help and learn about other parts of the performance, such as ticketing, stage design, lighting or sound.

Document and report. Keep a record of the process and the performance with notes and, where allowed, photographs. Afterwards, share a report with the class: what you did, what went well, what you would change, and what you learned about how events really work.

Safety and conduct. Always volunteer with your school's and parents' permission, work under adult supervision, and follow the organiser's instructions.

At the end of the music section, you show what you have learned through presentations, both on your own and with your class. Knowing the criteria in advance helps you prepare well.

Individual presentation. You may be asked to do one or more of these:

• Choose and present a song on a given theme, such as nature, the nation, devotion or friendship. You will be judged on whether you chose a suitable song and how fluently you sing it in pitch and rhythm.
• Present on an artist, a musical monument or a music institution, using what you researched in earlier chapters. You will be judged on the quality of your research, your presentation and how well you communicate.
• Present a simple classical composition, such as the Asavari sargam geet or a sapta tala alankara, together with its arohana and avarohana, while keeping tala. You will be judged on singing the correct notes of the raga and maintaining the tala.

Group presentation. The class presents a performance that shows its ability to work as a team: assigning roles, dividing responsibilities and coordinating. You will be judged on creative ideas, coordination, teamwork and enthusiasm. This could be a patriotic song by an ensemble, your song for change, or a short programme combining several pieces.

How to prepare.

• Choose early, so you have time to practise.
• For songs, rehearse daily with a drone or instrument for pitch, and keep tala with the hand.
• For research presentations, make a clear structure: introduction, main points, examples or audio clips, conclusion. Practise speaking clearly and to time.
• For group work, agree roles in writing and hold at least three full rehearsals.
• Do a practice run in front of family or friends and ask for one strength and one improvement.

On the day. Warm up your voice gently. Enter the stage calmly, announce your piece and its raga or theme, perform, and bow. If you make a mistake, keep going; audiences rarely notice small slips if the performer stays confident.

Afterwards: self-assessment. Use the same criteria to judge yourself honestly. Write what went well, what you would improve, and what you most enjoyed learning in music this year. Self-assessment is a skill every professional musician uses throughout their life.