পাতা:রবীন্দ্র-রচনাবলী (ষোড়শ খণ্ড) - সুলভ বিশ্বভারতী.pdf/৭২৩

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গ্রন্থপরিচয় SVS rendering, but unfortunately the singer often overshadows the composer by his own variations. RoLAND: This was also the state of affairs in Europe at the time of Handel. in old Italian music, interpretation was left to the singers, the composers always leaving many things indefinite. In the popular comedies of ltaly the music given by the composer was simply a kind of sketch. The player improvised, filled in, and often sang extenpore, sometimes to the accompaniment of the composer. Every time both songs and music were different, and a good deal has naturally vanished. TAGORI. : That is a characteristic of music, much of it vanishes. A good deal depends on the singer; its medium is a living channel. ROl...AND : In those days singers were terrible tyrants, especially in the south. In the north we had greater precision, the northern tradition is to have things as definite as possible. .. TAGORI. : Yes, that also is necessary. Your modern music is now well organised and harmony keeps the music pure, free from adulteration and counterfeits, as the currency of a country is kept pure by the mints. Rolt...AND : But don't you think it is only music which is petrified that can by kept pure in this way Music which is living cannot be kept completely unchanged. * after some time TAGORE: You know, I am not merely a writer of verse: I am keenly interested in music and I myself compose songs, I have always felt puzzled why there are such great differences in musical form in different countries. Surely music should be more universal than other forms of art, for its vehicle is easy to rcproduce and transmit from one country to another. RoLLAND: In cvery country music passes through several stages. The differences observcd at any particular time may possibly be due to a difference of the particular stage of development. Music has its childhood, growth and decay. The first song of emotion finds expression through a form which is scarcely adequate, then comes a perfect harmony between emotion and external form, and finally a certain formalisation, a stereotyping and decay, If life continues, a new overflow and a new cycle begins again. TAGORE: it is the same in every form of art ; in literature also we find that a new urge creates its own form. After some time a form which was once new becomes old and worn through constant usage and is not longer adequate. RoLAND: Yes, and so with life also. We have the etcmal flow from form to form.