How did you develop a flair for languages and how do you manage to separate the diction of each language?
I would credit a large part of this to my background. I am a Tamilian girl, who was brought up by a Bengali, in Delhi. When I came to Bombay in the 70s, to do jingles, I developed some flexibility with language and pronunciation.
When I was given an Assamese or Oriya jingle, I was able to relate it to Bengali. Singing in South Indian languages was easy because I can speak Tamil. For jingles like “washing powder Nirma,” I took notes on how the words had to be pronounced. But with time, I realized that more than pronouncing the words, it is important to understand the singing intonations and style of every language.
Could you talk about some of the vocal techniques that you have used in your career?
Growing up, I learnt Hindustani music. The radio was a major part of my childhood, and I listened to a lot of film music – especially Lata ji and Manna da.
When I came to Bollywood, it was a bit of a transition. I had to translate what I had learnt to suit the industry. Since every song was script-based, I had to modulate or change the embellishments depending on how the actress was going to emote. That was how I sang Hawa Hawai.
During your times did you face prejudice? According to you, do you think common prejudices still exist in the industry?
I was extremely fortunate to have been warmly welcomed into the industry. Since I was raised by a Bengali, the Bengali music directors accepted me readily. Nobody ever scrutinized my songs to check if I had a South Indian accent. At the time, there were very singers who came into Bollywood and there was some scrutiny overall, but it never affected me.
この記事は The Score Magazine の January 2020 版に掲載されています。
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この記事は The Score Magazine の January 2020 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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