It was a boring Sunday afternoon....
I had nothing to do except for watching some drum videos and practicing. While searching for something, I ran into a folder titled "Dhvani”.
Instantly the rewind function got activated and I sailed back to 2002 where it all started.
I was a happy go lucky boy during my college days; studies were of least priority, though I loved physics and maths. Music was always the best friend but it was tough to convince dad to get me a set of drums.
I coaxed, cajoled, begged and finally got a second hand 3 piece Congo set. Dad had a strict condition that I would be allowed to perform only if I get good marks in F.Y exams. That was enough to pump me up and I started taking my studies very seriously. Results came out, I did pretty well and dad was happy.
I enrolled in computer class to get acquainted with nuances of software technology; Co-incidentally, I met a schoolmate who was a student there as well, we got quite well together since we were rookies in the field of music. He had a mini Keyboard while I had my Congo set which we thought was enough for us to compose something and bring down the entire world.
Life went well since then, we were happy with our jam sessions.
14th February was approaching and students of the center decided that we should have a small get together celebration. The musician within us woke up and we proposed a live band performance which was unanimously agreed.
We had to search for a singer and another musician as soon as possible. I thought about a distant cousin of mine who was quite a good vocalist. He doubled up our charts because he had a pretty decent Yamaha Keyboard which would suffice our requirements for the show.
So Vikram (the rookie keyboard player / my schoolmate) was half happy now, his major problem was solved but he had another task to search for a guitarist. To his savior came his college mate who along with my cousin were then the most musically learned people amongst us.
I got hold of an acquaintance who got an Octopad for us on rent.
So all said and done, we accumulated people, instruments and started rehearsing for the event.
Read Dhvani - Part 2
Monday, May 4, 2009
Friday, March 27, 2009
Sound Recording - The art of making music sound even better....
We all listen to songs almost everyday, there is a definite presence of music in our daily lives. We tune into our favorite Radio Stations or listen to CDs while driving. A soothing song is enough to freshen up the mind, any party, social gathering, discotheque, pub are incomplete and perhaps un-imaginable without music.
In earlier days the facilities were limited but talent and determination ensured that the void was fulfilled.
The earliest recording studios had very basic facilities, being essentially soundproof rooms that isolated the performers from outside noise. During this era it was not uncommon for recordings to be made in any available location, such as a local ballroom, using portable acoustic recording equipment.
In this period, master recordings were made using a direct-to-disc cutting process. Performers were typically grouped around a large acoustic horn, the acoustic energy from the voices and instruments was channeled through the horn's diaphragm to a mechanical cutting lathe located in the next room, which inscribed the signal as a modulated groove directly onto the surface of the master cylinder or disc.
Following the invention and commercial introduction of the microphone, the electronic amplifier, the mixing desk and the loudspeaker, the recording industry gradually converted to electric recording, and by 1925 this technology had replaced mechanical acoustic recording methods.Electrical recording was common by the early 1930s and mastering lathes were now electrically powered. But master recordings still had to be cut direct-to-disc.
In line with the prevailing musical trends, studios in this period were primarily designed for the live recording of symphony orchestras and other large instrumental ensembles. Engineers soon found that large, reverberant spaces like concert halls created a vibrant acoustic signature that greatly enhanced the sound of the recording, and in this period large, acoustically "live" halls were favored, rather than the acoustically "dead" booths and studio rooms that became common after the 1960s.
Because of the limits of the recording technology, studios of the mid-20th century were designed around the concept of grouping musicians and singers, rather than separating them, and placing the performers and the microphones strategically to capture the complex acoustic and harmonic interplay that emerged during the performance. During the 1950s and 1960s the sound of recordings was further defined by the introduction of proprietary sound processing devices such as equalizers and compressors, which were manufactured by specialist electronics companies.
Till the 70's there were single track recorders which could record only ONE track. Multiple rehearsals used to be conducted to ensure that the musicians were in sync before recording the song.
I recall a song from the famous movie "Jewel Thief". It had more than 70 different percussion instruments apart from the regular strings & horns section. The recording of that song itself was a masterpiece, the smallest of instruments like Ghungroo, Cabassa are heard clearly even on a mobile phone speaker.
Fortunately I found its video on youtube. Even when I listen to that song today, it sends shivers through my spine. Hats off to all the musicians and sound engineer who gave us such an outstanding soundtrack.
The 70's saw rise of Multi-track recording, it allowed separate recording of multiple sound sources to create a cohesive whole. During multi tracking, multiple musical instruments could be recorded, either one at a time or simultaneously, onto individual tracks, so that the sounds thus recorded could be accessed, processed and manipulated individually to produce the desired results. The period from 70's to late 80's were largely dependent on the Spool tape.
During the 90's computer replaced the spool device and became a multi track recorder, this change brought a revolution in the music industry. The recording engineer had much more work and flexibility in his hands to manipulate the sounds, the new generation artists apparently went lazy as they had endless number of options for editing and re-takes. How ever, post processing and mixing became much better.
Now a days, live music is on the verge of extinction, more and more soft synths are being developed which can imitate any instrument and the ambiance of a studio. Computer has taken the duties of a sound recorder and a virtual instrument which can play almost anything. The musician has to choose the instrument on the software console, plug in his MIDI keyboard and start playing right away. I hate to admit that I am no exception, its easy, its simple, it sounds better but it can never replace the effect of live music anyday.
Given a choice, I would always love to record live instruments, the feel which they convey can never be imitated by a computer synth.
As a mugshot, I present 2 videos from youtube.
The first one is Mr. Illayairaja's concert which was held in chennai. His troupe had played an instrumental version of a famous Malayalam song known as "Thumbe Vaa". I have never heard the original soundtrack but was bowled over when I heard this instrumental version. After all its played live.
The second one is from A.R Rahman's L.A concert. His flautist Naveen played the beautiful "Bombay Theme" with some North American musicians.
In earlier days the facilities were limited but talent and determination ensured that the void was fulfilled.
The earliest recording studios had very basic facilities, being essentially soundproof rooms that isolated the performers from outside noise. During this era it was not uncommon for recordings to be made in any available location, such as a local ballroom, using portable acoustic recording equipment.
In this period, master recordings were made using a direct-to-disc cutting process. Performers were typically grouped around a large acoustic horn, the acoustic energy from the voices and instruments was channeled through the horn's diaphragm to a mechanical cutting lathe located in the next room, which inscribed the signal as a modulated groove directly onto the surface of the master cylinder or disc.
Following the invention and commercial introduction of the microphone, the electronic amplifier, the mixing desk and the loudspeaker, the recording industry gradually converted to electric recording, and by 1925 this technology had replaced mechanical acoustic recording methods.Electrical recording was common by the early 1930s and mastering lathes were now electrically powered. But master recordings still had to be cut direct-to-disc.
In line with the prevailing musical trends, studios in this period were primarily designed for the live recording of symphony orchestras and other large instrumental ensembles. Engineers soon found that large, reverberant spaces like concert halls created a vibrant acoustic signature that greatly enhanced the sound of the recording, and in this period large, acoustically "live" halls were favored, rather than the acoustically "dead" booths and studio rooms that became common after the 1960s.
Because of the limits of the recording technology, studios of the mid-20th century were designed around the concept of grouping musicians and singers, rather than separating them, and placing the performers and the microphones strategically to capture the complex acoustic and harmonic interplay that emerged during the performance. During the 1950s and 1960s the sound of recordings was further defined by the introduction of proprietary sound processing devices such as equalizers and compressors, which were manufactured by specialist electronics companies.
Till the 70's there were single track recorders which could record only ONE track. Multiple rehearsals used to be conducted to ensure that the musicians were in sync before recording the song.
I recall a song from the famous movie "Jewel Thief". It had more than 70 different percussion instruments apart from the regular strings & horns section. The recording of that song itself was a masterpiece, the smallest of instruments like Ghungroo, Cabassa are heard clearly even on a mobile phone speaker.
Fortunately I found its video on youtube. Even when I listen to that song today, it sends shivers through my spine. Hats off to all the musicians and sound engineer who gave us such an outstanding soundtrack.
The 70's saw rise of Multi-track recording, it allowed separate recording of multiple sound sources to create a cohesive whole. During multi tracking, multiple musical instruments could be recorded, either one at a time or simultaneously, onto individual tracks, so that the sounds thus recorded could be accessed, processed and manipulated individually to produce the desired results. The period from 70's to late 80's were largely dependent on the Spool tape.
During the 90's computer replaced the spool device and became a multi track recorder, this change brought a revolution in the music industry. The recording engineer had much more work and flexibility in his hands to manipulate the sounds, the new generation artists apparently went lazy as they had endless number of options for editing and re-takes. How ever, post processing and mixing became much better.
Now a days, live music is on the verge of extinction, more and more soft synths are being developed which can imitate any instrument and the ambiance of a studio. Computer has taken the duties of a sound recorder and a virtual instrument which can play almost anything. The musician has to choose the instrument on the software console, plug in his MIDI keyboard and start playing right away. I hate to admit that I am no exception, its easy, its simple, it sounds better but it can never replace the effect of live music anyday.
Given a choice, I would always love to record live instruments, the feel which they convey can never be imitated by a computer synth.
As a mugshot, I present 2 videos from youtube.
The first one is Mr. Illayairaja's concert which was held in chennai. His troupe had played an instrumental version of a famous Malayalam song known as "Thumbe Vaa". I have never heard the original soundtrack but was bowled over when I heard this instrumental version. After all its played live.
The second one is from A.R Rahman's L.A concert. His flautist Naveen played the beautiful "Bombay Theme" with some North American musicians.
Friday, March 20, 2009
Pancham
I don't have much to write today.
I just want to pay my humble tributes to a man who was by far a stand out talent amongst the great composers of all times. He is no more with us but his tunes still are very much, his music is immortal and so is his greatness.
I pay my tributes to you Pancham Da..... May your music live always with us.
Here are some videos that I got from YouTube which has the Team of RD Burman paying tribute to him.
I just want to pay my humble tributes to a man who was by far a stand out talent amongst the great composers of all times. He is no more with us but his tunes still are very much, his music is immortal and so is his greatness.
I pay my tributes to you Pancham Da..... May your music live always with us.
Here are some videos that I got from YouTube which has the Team of RD Burman paying tribute to him.
Monday, February 23, 2009
Jai HO
India stands proud at the Oscars...
A man who redefined music, a trendsetter who established his marque in the music industry.
His music crossed continents and made billions of people swing to his tunes. His curiously named Panchathan Recording Inn is a nondescript building tucked away in the thriving film district of Chennai. This backyard music studio of a magical pied piper has witnessed recordings of chart busters like Thiruda Thiruda, Roja, Bombay and many more.
Seventeen years after he began composing scores for films, the jingle maker-turned-musician has finally got recognition as India's first truly global film music composer. A.R Rahman can be called an alchemist of sounds and voices, mixing and matching them in a potion that is usually a joy for ears and soul.
The Oscar jury has awarded Rahman for musical score in Slumdog Millionaire. Though everyone is happy about an Indian winning a golden globe and especially Rahman winning it, many weren’t sure about whether Rahman deserves it for this perticular movie score.
In my opinion, Rahman’s music for Roja, Bombay Lagaan & Water was far better. Is it that the Oscars / BAFTA / Golden Globe jury considered Rahman’s music since it’s directed by a Western director FOR the Western audience?
To me, this man brought a revolution in music making and he will always be in the list of Legends in my Diary. Yet, for the world, Rahman is an acknowledged international talent and the Oscar has drawn the world's attention to his music. He is a marque today and India is proud to have a gem like him.
Another Indian, Resul Pookutty has created a history by becoming the first Indian to bag the best sound mixing Oscar for Slumdog Millionare. His hard work has brought him to a level of well deserved world-wide recognition which symbolizes that even technically, India is at par with the rest of the world.
He shared the award with Ian Tapp and Richard Pryke. Along with the entire Nation, I too stand proud and congratulate them.
A man who redefined music, a trendsetter who established his marque in the music industry.
His music crossed continents and made billions of people swing to his tunes. His curiously named Panchathan Recording Inn is a nondescript building tucked away in the thriving film district of Chennai. This backyard music studio of a magical pied piper has witnessed recordings of chart busters like Thiruda Thiruda, Roja, Bombay and many more.
Seventeen years after he began composing scores for films, the jingle maker-turned-musician has finally got recognition as India's first truly global film music composer. A.R Rahman can be called an alchemist of sounds and voices, mixing and matching them in a potion that is usually a joy for ears and soul.
The Oscar jury has awarded Rahman for musical score in Slumdog Millionaire. Though everyone is happy about an Indian winning a golden globe and especially Rahman winning it, many weren’t sure about whether Rahman deserves it for this perticular movie score.
In my opinion, Rahman’s music for Roja, Bombay Lagaan & Water was far better. Is it that the Oscars / BAFTA / Golden Globe jury considered Rahman’s music since it’s directed by a Western director FOR the Western audience?
To me, this man brought a revolution in music making and he will always be in the list of Legends in my Diary. Yet, for the world, Rahman is an acknowledged international talent and the Oscar has drawn the world's attention to his music. He is a marque today and India is proud to have a gem like him.
Another Indian, Resul Pookutty has created a history by becoming the first Indian to bag the best sound mixing Oscar for Slumdog Millionare. His hard work has brought him to a level of well deserved world-wide recognition which symbolizes that even technically, India is at par with the rest of the world.
He shared the award with Ian Tapp and Richard Pryke. Along with the entire Nation, I too stand proud and congratulate them.
Saturday, February 21, 2009
The forgotten heros of Indian Music Industry
The music of India is said to be one of the oldest unbroken musical traditions in the world. It is said that the origins of this system go back to the Vedas. Many different legends have grown up concerning the origins and development of Indian classical music. Such legends go a long way in showing the importance that music has in defining Indian culture.
This month, the nation felt proud when the Gems of India shot up in limelight. While A R Rahman won the BAFTA award for Best Music in Slumdog Millionaire, the Indian presence was also seen at Grammys with tabla maestro Zakir Hussain winning in the Contemporary World Music Album category for his collaborative album "Global Drum Project".
Sure, India has a lot to brag when it comes to Music, maestros like Pt. Ravishankar, Pt. Shivkumar Sharma, Pt. Hariprasad Chaurasia, Ustad Allarakha, Ustad Amjad Ali Khan etc have brought a lot of recognition for the Indian Classical Music. The Carnatic Music has also achieved a respectable status worldwide, thanks to the hardwork and efforts by Maestros like M.S Subbalakshmi, Dr. L Subramanium, Dr. Balamurali Krishnan, Umayalpuram Sivaraman etc.
While all this is being said, how can one forget the Hindi Film Industry. We feel proud to have great singers like Lata Mangeshkar, Asha bhosle, Manna Dey, Kavita Krishnamoorthy. The legends like Md. Rafi, Kishore Kumar, Madan Mohan, Shankar Jaikishan, SD Burman, RD Burman, Salil Choudhary have graced the industry with their work.
I am sure everyone might have heard the lovely song "Jaane Jaan, Dhoondhta Phir Raha" from the yesteryear's movie Jawani Deewani. The music was very popular and created the trend towards using modern western instruments.
This was the first time that the Bass Guitar was used as a front line music instrument rather than just a background filler. And the way the Bass Guitar was played, it proudly stands un-imitable even today.
All thanks to a great musician called "Tony Vaz". He was the hot favorite of RD Burman (who saw him play in a hotel once and then never composed any songs without him), Bappi Lahiri and a host of other music directors.
Unfortunately, towards the end of his life, he had to stay in a tiny room that had a few dirty clothes and a stink to call its own. He was severely diabetic and acutely impaired by paralysis.
He often lost control of his bowels on the bed and would lie like that till someone offered help. But that help was rare because how often would people help an artiste who was no longer in the list of famous people? The fame and name which he had, did not bring him any help till his last breath apart from few sympathetic students and colleagues.
This is the irony of any and every musician who doesn't get credits for his hard work. The production companies spend millions and billions on promos, what would they lose if they start a humble initiative to promote the artists behind the scene? As always, the Music Director gets the entire credit and very few of them like A R Rahman believe in sharing the credits with the team.
Many great musicians of yesteryear's like Ramesh Iyer, Marutirao Keer, Rajnikant Patil, Dilip Naik, Franco Vaz have never received the due recognition.
Even today, many people love the soothing track "Bombay Theme" from the movie "Bombay", how many of us actually know that an artist called Naveen has played the Flute? He is a staple in all A R Rahman Recordings and Concerts. How many have heard about Darshan Doshi who has played Drums for movies like Rock On, Metro, Goal, Bhool Bhulaiya and many more.
This month, the nation felt proud when the Gems of India shot up in limelight. While A R Rahman won the BAFTA award for Best Music in Slumdog Millionaire, the Indian presence was also seen at Grammys with tabla maestro Zakir Hussain winning in the Contemporary World Music Album category for his collaborative album "Global Drum Project".
 |  |
While all this is being said, how can one forget the Hindi Film Industry. We feel proud to have great singers like Lata Mangeshkar, Asha bhosle, Manna Dey, Kavita Krishnamoorthy. The legends like Md. Rafi, Kishore Kumar, Madan Mohan, Shankar Jaikishan, SD Burman, RD Burman, Salil Choudhary have graced the industry with their work.
I am sure everyone might have heard the lovely song "Jaane Jaan, Dhoondhta Phir Raha" from the yesteryear's movie Jawani Deewani. The music was very popular and created the trend towards using modern western instruments.
This was the first time that the Bass Guitar was used as a front line music instrument rather than just a background filler. And the way the Bass Guitar was played, it proudly stands un-imitable even today.
All thanks to a great musician called "Tony Vaz". He was the hot favorite of RD Burman (who saw him play in a hotel once and then never composed any songs without him), Bappi Lahiri and a host of other music directors.
Unfortunately, towards the end of his life, he had to stay in a tiny room that had a few dirty clothes and a stink to call its own. He was severely diabetic and acutely impaired by paralysis.
He often lost control of his bowels on the bed and would lie like that till someone offered help. But that help was rare because how often would people help an artiste who was no longer in the list of famous people? The fame and name which he had, did not bring him any help till his last breath apart from few sympathetic students and colleagues.
This is the irony of any and every musician who doesn't get credits for his hard work. The production companies spend millions and billions on promos, what would they lose if they start a humble initiative to promote the artists behind the scene? As always, the Music Director gets the entire credit and very few of them like A R Rahman believe in sharing the credits with the team.
Many great musicians of yesteryear's like Ramesh Iyer, Marutirao Keer, Rajnikant Patil, Dilip Naik, Franco Vaz have never received the due recognition.
L-R seated:Ranjan Sircar (radio personality), Manohari Singh (Saxophone), Ramesh Iyer (Guitar), Ranjeet Gazmer (Maadal).
L-R standing: Homi Mullan (Maadal & Tabla), Amrutrao Katkar (Tabla), Kersi Lord (Drums), Bhanu Gupta (Mouth Organ)
Even today, many people love the soothing track "Bombay Theme" from the movie "Bombay", how many of us actually know that an artist called Naveen has played the Flute? He is a staple in all A R Rahman Recordings and Concerts. How many have heard about Darshan Doshi who has played Drums for movies like Rock On, Metro, Goal, Bhool Bhulaiya and many more.
Flautist Naveen in Concert with A R Rahman
Next time when you listen to a track, think about the efforts put by the Musicians who never get credits for their work.
Music has seven notes, but these great musicians have umpteen talent and dedication to make these 7 notes sound beautiful.
Its been a year since Tony ji left us, may his soul rest in peace. The magical fingers will be always remembered when ever Bass Guitar is heard.
Wednesday, February 18, 2009
The science behind Music
How does your brain process music? Why do certain tunes get stuck in your head? And why are just a few notes enough for you to name that tune?
Musical learning has additional implications for processes involved in presenting a piece from memory or performing in a play or a dance. Like the universe with its billions of stars, the human brain is a constellation of billions of neural cells which communicate with one another by forming networks that are the basis of human awareness and memory.
Learning a scientific theory is a process of forming connections among these cells. Similarly, learning a piece of music through memory is similar to the clustering of the planetary systems and stars.
But why would humans have evolved to become musical creatures? Among evolutionary biologists, there is great controversy over this question. Making and listening to music is a social activity, and could thus have improved cohesion among members of the species.
Music may have historically served to promote feelings of group togetherness and synchrony in ancient societies. One strong evidence is the existence of music across cultures, and across history. No known human culture now or anytime in the past lacked music.
Clearly though, we don't all find pleasure in the same music; and what determines whether we end up loving is mostly a matter of what we listen to when we're young. Studies suggest that we start listening to and remembering music in the womb, it's in our teens that we choose the specific sort of music that we'll love forever.
Our brains have evolved to respond to music in this way; in other words, it is no accident, and rather it's by evolutionary design that we are so good at processing music.
According to researchers, Listening and participating in music creates new neural pathways in your brain that stimulate creativity. Studies have shown that music actually trains the brain for higher forms of thinking. Music stimulates the mind, encourages creativity and helps to lay a foundation for learning that leads to higher intelligence and aptitude.
A human brain is divided into two hemispheres, the right hemisphere has been traditionally identified as the seat of music appreciation. However, no one has found a "music center" there, or anywhere else. Studies of musical understanding in people who have damage to either hemisphere, as well as brain scans of people taken while listening to tunes, reveal that music perception emerges from the interplay of activity in both sides of the brain.
Some brain circuits respond specifically to music; but, as you would expect, parts of these circuits participate in other forms of sound processing. For example, the region of the brain dedicated to perfect pitch is also involved in speech perception.
Music therapy has been around for thousands of years, since the time of the ancient Greeks. Its popularity has recently increased as its been used more in recent years. It is used to raise spirits and also used in conjunction with anesthesia to alleviate pain. Newer methods of musical therapy used are exposing them to new music and even song writing. Music; the universal language.
After writing all these, I recollect a few lines written by me and my band mates. The song is dedicated to music, we feel that music doesn't belong to a religion, caste, creed or culture. Music is universal and we devote our lives to music.
Musical learning has additional implications for processes involved in presenting a piece from memory or performing in a play or a dance. Like the universe with its billions of stars, the human brain is a constellation of billions of neural cells which communicate with one another by forming networks that are the basis of human awareness and memory.
Learning a scientific theory is a process of forming connections among these cells. Similarly, learning a piece of music through memory is similar to the clustering of the planetary systems and stars.
But why would humans have evolved to become musical creatures? Among evolutionary biologists, there is great controversy over this question. Making and listening to music is a social activity, and could thus have improved cohesion among members of the species.
Music may have historically served to promote feelings of group togetherness and synchrony in ancient societies. One strong evidence is the existence of music across cultures, and across history. No known human culture now or anytime in the past lacked music.
Clearly though, we don't all find pleasure in the same music; and what determines whether we end up loving is mostly a matter of what we listen to when we're young. Studies suggest that we start listening to and remembering music in the womb, it's in our teens that we choose the specific sort of music that we'll love forever.
Our brains have evolved to respond to music in this way; in other words, it is no accident, and rather it's by evolutionary design that we are so good at processing music.
According to researchers, Listening and participating in music creates new neural pathways in your brain that stimulate creativity. Studies have shown that music actually trains the brain for higher forms of thinking. Music stimulates the mind, encourages creativity and helps to lay a foundation for learning that leads to higher intelligence and aptitude.
A human brain is divided into two hemispheres, the right hemisphere has been traditionally identified as the seat of music appreciation. However, no one has found a "music center" there, or anywhere else. Studies of musical understanding in people who have damage to either hemisphere, as well as brain scans of people taken while listening to tunes, reveal that music perception emerges from the interplay of activity in both sides of the brain.
Some brain circuits respond specifically to music; but, as you would expect, parts of these circuits participate in other forms of sound processing. For example, the region of the brain dedicated to perfect pitch is also involved in speech perception.
Music therapy has been around for thousands of years, since the time of the ancient Greeks. Its popularity has recently increased as its been used more in recent years. It is used to raise spirits and also used in conjunction with anesthesia to alleviate pain. Newer methods of musical therapy used are exposing them to new music and even song writing. Music; the universal language.
After writing all these, I recollect a few lines written by me and my band mates. The song is dedicated to music, we feel that music doesn't belong to a religion, caste, creed or culture. Music is universal and we devote our lives to music.
ना ही सरहद, ना लकीरें
ना ही भाषा, ना दरारें
ना ही वर्ण है, ना है जाति
तुम ही जीवन, तुम ही साथी
तुम हो प्राण, तुम हो ईश्वर
तुम ही आत्मा, तुम परमेश्वर
ना ही भाषा, ना दरारें
ना ही वर्ण है, ना है जाति
तुम ही जीवन, तुम ही साथी
तुम हो प्राण, तुम हो ईश्वर
तुम ही आत्मा, तुम परमेश्वर
Tuesday, February 10, 2009
शून्य
स्वार्थता के मंच पर भावनाओं से क्रीड़ा,
पत्थर तोड़ते नाज़ुक हृदय की पीड़ा ।
तर्क तक सीमित वह ज्ञान,
प्रकृति से जूझता असफल विज्ञान ।
लाशों के ढेर पर जनतंत्र की पताका,
‘उत्पत्ति’ के नाम पर कहीं धमाका ।
और फिर ‘शून्य’ ।
पर ‘आत्म’ बेकल भटकता है,
परमात्म पाने को,
विडम्बनाओं और आस्थाओं की भीड़ में ,
खोजता ‘शून्य’ को एक ‘शून्य’ ।
पत्थर तोड़ते नाज़ुक हृदय की पीड़ा ।
तर्क तक सीमित वह ज्ञान,
प्रकृति से जूझता असफल विज्ञान ।
लाशों के ढेर पर जनतंत्र की पताका,
‘उत्पत्ति’ के नाम पर कहीं धमाका ।
और फिर ‘शून्य’ ।
पर ‘आत्म’ बेकल भटकता है,
परमात्म पाने को,
विडम्बनाओं और आस्थाओं की भीड़ में ,
खोजता ‘शून्य’ को एक ‘शून्य’ ।
Subscribe to:
Posts (Atom)
