Musicians
Further information: List of Tamil music directors and Music of Tamil NaduMusic composers such as Ilaiyaraaja and A. R. Rahman received international recognition. These two composers also hold the record of having won the most number of awards for Best Music Director from the National Film Awards. A. R. Rahman has won two Academy Awards. His debut film Roja was the only Indian film to feature in Time magazine's "10 Best Soundtracks" of all time. In the 2003 BBC International poll, "Rakkamma Kaiya Thattu" from the film Thalapathi, scored by Ilaiyaraaja was voted by people from 155 countries as fourth in the world's top 10 most popular songs of all time.
Several international composers have used Chennai's studios to record music for projects, as have composers from other film industries. G. Ramanathan was a famous composer for Tamil Movies in the 1950s and was considered to be one of the most influential composers. He won the Best Music Composer award for Veerapandiya Kattabomman at the Afro-Asian Film Festival held at Cairo in 1960. K. V. Mahadevan, a prominent composer in the 1960s and 1970s was the first South Indian music composer to win a National Film Award. M. S. Viswanathan and T. K. Ramamoorthy duo was popular in the 1960s and 1970s, with interest in Tamil film songs being re-ignited with the audio revolution. Other prominent Tamil film score and soundtrack composers of the present include Yuvan Shankar Raja who is the only Indian to receive Cyprus International award in India and Shankar Mahadevan who is a part of the Shankar-Ehsaan-Loy trio, who are prominent composers in Bollywood.
Read more about this topic: Tamil Cinema, Noted Persons
Famous quotes containing the word musicians:
“How are we to know that a Dracula is a key-pounding pianist who lifts his hands up to his face, or that a bass fiddle is the doghouse, or that shmaltz musicians are four-button suit guys and long underwear boys?”
—In New York City, U.S. public relief program (1935-1943)
“We stand in the tumult of a festival.
What festival? This loud, disordered mooch?
These hospitaliers? These brute-like guests?
These musicians dubbing at a tragedy,
A-dub, a-dub, which is made up of this:
That there are no lines to speak? There is no play.”
—Wallace Stevens (1879–1955)
“As if the musicians did not so much play the little phrase as execute the rites required by it to appear, and they proceeded to the necessary incantations to obtain and prolong for a few instants the miracle of its evocation, Swann, who could no more see the phrase than if it belonged to an ultraviolet world ... Swann felt it as a presence, as a protective goddess and a confidante to his love, who to arrive to him ... had clothed the disguise of this sonorous appearance.”
—Marcel Proust (1871–1922)