Category: music

  • Learnings from music

    Learnings from music

    What Music Taught Me That Music Class Never Could

    Somewhere between the first note and the thousandth repetition, music stops being something you learn and becomes something that teaches you.

    I started learning music thinking I was learning how to sing.

    Over time, I realised I was learning much more than that.

    Music has a strange way of teaching you lessons without announcing them. You don’t sit down for riyaaz thinking, Today I’m going to learn patience. You sit down because you want to get that one phrase right.

    And then you try it again.

    And again.

    And again.

    Until one day, it finally sounds the way you imagined it.

    That process has taught me some of the most important things I know.

    1. Progress is often invisible

    One of the hardest things about learning music is that improvement doesn’t always feel dramatic.

    There are days when your voice feels effortless and everything seems to fall into place.

    And then there are days when the same thing you’ve been practising for weeks suddenly feels impossible.

    But you keep going.

    That is one of the biggest lessons music has given me: not all progress is immediately visible.

    Sometimes you’re getting better without noticing it.

    The note that once felt difficult becomes natural. A phrase that required concentration starts coming instinctively. Your understanding changes quietly before you realise you’ve changed at all.

    I think life works much the same way.

    We often expect growth to feel like a breakthrough.

    Sometimes it just feels like showing up again tomorrow.

    2. Patience is a skill

    We live in a world that rewards speed.

    Fast content. Fast communication. Fast results.

    Music taught me to be comfortable with the opposite.

    You cannot rush riyaaz.

    You cannot force your voice to mature overnight.

    You cannot skip every uncomfortable stage and arrive directly at the version of yourself you imagined.

    There is something humbling about that.

    Music constantly reminds me that some things are worth taking time for.

    And maybe patience isn’t about waiting around.

    Maybe it’s about continuing to work while you’re waiting.

    3. Technique isn’t the same as expression

    You can learn every rule and still fail to make someone feel something.

    That distinction fascinates me.

    Music has a technical side — notes, rhythm, pitch, breath, pronunciation, structure.

    But then there is something beyond technique.

    Emotion.

    Expression.

    Intention.

    The reason behind the note.

    Eventually, I realised that becoming a better musician isn’t only about singing correctly.

    It’s about understanding why you’re singing.

    What are you trying to communicate?

    What do you want someone listening to feel?

    That idea has followed me outside music too.

    Whether it’s creating content, building a brand or communicating an idea, technical perfection doesn’t automatically create connection.

    People connect with meaning.

    4. Confidence doesn’t always come first

    I used to think confident performers were simply born confident.

    I don’t anymore.

    A lot of confidence comes from preparation.

    From knowing you’ve practised.

    From performing even when you’re nervous.

    From making mistakes in front of people and realising that the world doesn’t end.

    Every performance teaches you something.

    Sometimes it’s a beautiful moment where everything goes right.

    Sometimes you walk off stage knowing exactly what you could have done better.

    Both experiences matter.

    Because confidence isn’t necessarily the absence of nervousness.

    Sometimes it’s simply deciding to perform anyway.

    5. Listening is half of being a musician

    Music has made me a better listener.

    Not just in the literal sense, but in life.

    When you’re learning music, you begin noticing tiny differences.

    The way one singer approaches a phrase.

    The way another musician interprets the same composition.

    The silence between two notes.

    The emotion in someone’s voice.

    You start paying attention.

    And paying attention is powerful.

    We spend so much of our lives waiting to speak, respond, post, react or move on to the next thing.

    Music taught me the value of simply listening.

    Sometimes there is more information in what isn’t being said.

    6. Your voice doesn’t have to sound like anyone else’s

    This might be one of the most important things I’ve learned.

    When you admire other musicians, it’s easy to compare yourself.

    Their voice.

    Their technique.

    Their performances.

    Their audience.

    Their progress.

    But eventually, you realise that imitation can only take you so far.

    The goal isn’t to become someone whose voice you admire.

    It’s to understand your own.

    That doesn’t mean you stop learning from others.

    It means you learn without losing yourself in the process.

    And I think that applies far beyond music.

    There will always be someone who seems ahead of you.

    Someone more talented.

    Someone more experienced.

    Someone who started earlier.

    But nobody else gets to be you.

    That’s not a limitation.

    That’s the point.

    7. Music doesn’t always need an explanation

    Some of my favourite musical moments aren’t the ones I can explain.

    They’re the ones I can only feel.

    A particular raag at the right time.

    A voice that unexpectedly gives you goosebumps.

    A song that takes you back to a specific memory.

    A melody that somehow makes an ordinary evening feel different.

    Not everything meaningful needs to be translated into words.

    Sometimes art exists simply to make us feel something.

    And perhaps that’s why I keep coming back to music.

    Because even after all the technique, theory, practice and discipline, there is still something beautifully mysterious about it.

    What I’m still learning

    I’m still learning.

    Still practising.

    Still finding my voice.

    Still figuring out what kind of artist I want to become and how I want to share that art with the world.

    And maybe that’s the most exciting part.

    I don’t think music is something you ever truly finish learning.

    There is always another composition.

    Another phrase.

    Another interpretation.

    Another performance.

    Another version of yourself waiting to be discovered.

    I started with the idea that music would teach me how to sing.

    Instead, it has taught me how to listen, wait, fail, begin again, express, and keep becoming.

    And honestly, I think those lessons are bigger than music.

    They are lessons I want to carry everywhere I go.

    One note at a time.

  • Can Traditional Music Survive the Attention Economy?

    Can Traditional Music Survive the Attention Economy?

    Riyaaz in the Age of Reels

    Can Traditional Music Survive the Attention Economy?

    There is something almost rebellious about sitting down to practice the same note again and again.

    In a world where everything moves at the speed of a scroll, music asks us to slow down.

    A raag cannot be understood in fifteen seconds. A voice cannot become expressive overnight. And years of riyaaz cannot be compressed into a trending audio.

    Yet, today, some of the first places where people discover music are Instagram Reels, YouTube Shorts and other short-form platforms.

    This creates an interesting question for young musicians, especially those learning traditional forms of music:

    How do you preserve an art form built on patience in an internet cultu

    re built on immediacy?

    The world of riyaaz vs. the world of reels

    Classical music teaches you to listen before you perform.

    You learn a note. Then you learn how that note feels. You learn its relationship with the notes around it. You repeat it until your voice stops thinking about the technique and starts expressing something instinctive.

    Riyaaz is slow by nature.

    Social media is not.

    On social media, the first few seconds can determine whether someone stays or scrolls. A song may be judged before the listener even reaches the first full phrase. Numbers become visible immediately: views, likes, shares, saves, followers.

    For an artist, it can sometimes feel like two completely different worlds are demanding your attention.

    One says:

    Take your time.

    The other says:

    Give me something interesting before I scroll.

    But perhaps these worlds don’t actually have to be enemies.

    Traditional doesn’t mean irrelevant

    One of the biggest misconceptions about classical music is that younger audiences don’t care about it.

    I don’t think that’s necessarily true.

    I think sometimes they simply haven’t found their way into it yet.

    A person who has never listened to a full classical performance might still stop scrolling when they hear a beautiful alaap. Someone who doesn’t know the technical difference between different raags can still feel something when a voice hits the right note at the right moment.

    You don’t always need to understand music academically to experience it emotionally.

    And that is where digital platforms can actually become powerful.

    The problem isn’t necessarily the art.

    Sometimes it’s the entry point.

    Can a raag become a reel?

    This is where things get complicated.

    There is a temptation to make traditional music “social-media friendly” by simplifying it until it becomes almost unrecognisable.

    But accessibility shouldn’t have to mean dilution.

    A classical musician can create a short video around a particular phrase, explain the emotion behind a raag, experiment with a contemporary arrangement, collaborate with another artist, or simply share a beautiful performance.

    The format can change without the soul of the music changing with it.

    Think of it this way:

    The platform is the stage. It doesn’t have to become the composer.

    A reel doesn’t have to replace a full performance.

    It can simply be the doorway that makes someone curious enough to seek out the full performance.

    And maybe that is one of the most important opportunities traditional musicians have today.

    Gen Z isn’t allergic to depth

    We often hear that Gen Z has a short attention span.

    Maybe.

    But I think that’s only half the story.

    The same generation that consumes thirty-second videos also spends hours listening to albums, watching live performances, discovering obscure artists and becoming deeply attached to songs that mean something to them.

    The problem isn’t necessarily a lack of attention.

    It is competition for attention.

    There is an unbelievable amount of content available at any given moment. So artists aren’t only competing with other musicians anymore. They’re competing with everything.

    Comedy. Fashion. Gaming. Memes. Podcasts. Influencers. News. Friends.

    In that environment, being talented is imp

    ortant.

    But being discoverable matters too.

    The modern musician is more than a musician

    This is probably one of the biggest changes happening in the music industry.

    Being a musician used to primarily mean making music.

    Today, an independent artist may also have to be their own content creator, social media manager, photographer, marketer, designer, storyteller and sometimes even their own booking agent.

    That can feel exhausting.

    But it can also be empowering.

    You no longer have to wait for someone else to decide whether your art deserves to be seen.

    You can build your own audience.

    You can tell your own story.

    You can experiment.

    You can find people who connect with your music even if they are thousands of kilometres away.

    The challenge is making sure that the artist doesn’t disappear behind the content.

    Don’t let the algorithm become your artistic director

    There is a dangerous side to constantly creating for platforms.

    You post something.

    It performs well.

    So you make another version.

    That performs even better.

    Soon, you begin asking:

    What does my audience want?

    What will get views?

    What sound is trending?

    What should I post next?

    And somewhere along the way, another question can become quieter:

    What do I actually want to create?

    For artists, that question matters.

    An algorithm can tell you what people clicked on.

    It cannot tell you what your music means to you.

    There is a difference between creating something because it genuinely excites you and creating something because you have learned how to maximise engagement.

    The best place, perhaps, is somewhere in between.

    Use the algorithm.

    Don’t belong to it.

    Tradition needs evolution, not abandonment

    Music has always evolved.

    Genres have crossed borders. Instruments have been reimagined. Classical compositions have inspired contemporary music. Folk traditions have travelled from one generation to another by constantly adapting to their surroundings.

    So perhaps the conversation shouldn’t be:

    Traditional music or modern music?

    Maybe it should be:

    How can traditional music exist beautifully in a modern world?

    There is room for the concert hall and the phone screen.

    For the long-form performance and the thirty-second clip.

    For centuries-old compositions and completely new interpretations.

    For riyaaz in a quiet room and a performance shared with thousands of strangers online.

    These things don’t necessarily cancel each other out.

    They can coexist.

    So, can traditional music survive the attention economy?

    I think it can.

    But survival shouldn’t be the goal.

    Relevance should not mean becoming something you’re not.

    The goal should be to create new ways for people to discover what has always been there.

    Maybe someone finds a fifteen-second clip today and listens to a full performance tomorrow.

    Maybe a reel introduces someone to a raag they had never heard before.

    Maybe a young musician finds confidence in sharing a tradition that once felt distant from their generation.

    And maybe the most beautiful part is that the music doesn’t have to become less traditional to reach them.

    It simply needs a new doorway.

    Because while the internet may have changed the way we discover music, it hasn’t changed the reason we fall in love with it.

    We still listen when we want to feel something.

    We still repeat songs that become memories.

    We still close our eyes when a particular note reaches somewhere words cannot.

    And perhaps that is the thing worth remembering in the age of endless scrolling:

    Some music deserves to be discovered quickly.
    But it deserves to be experienced slowly.