Concluding notes on the mood series

In our analysis, we looked at seven moods by way of seven colors and we tried to analyze it from seven main instruments that Raja has used. While this gives a perspective of Raja’s breadth and depth, it is by no means comprehensive. It is just an initial attempt. As mentioned before, there are many emotions beyond the seven that Raja has brought out with his songs and background music in films. Also, the seven instruments are just too limiting for this genius’ large body of work.

For instance, Raja’s work with solo violin alone deserves a separate analysis. Similarly, he has used unusual instruments (for South Indian music) such as saarangi, sitar, sarod, santoor along with his mainstream instruments to create a kaleidoscope of emotions/feelings.

There are many emotions/feeling that fall outside of our seven categories – jubilation (example, Ilamai Itho Itho from Sakala Kala Vallavan), intoxication (example, vaanam keele vanthalenna from Thoongathe Thambhi Thoongathe), maternal love (example, Chinna ThayavaL from Dhalapathi), Arrogance (example, Ennama Kannu from Mr. Bharat), competitiveness (example, Vaa Veliye from Paadu Nilave) and so on. Most of these emotions/feelings are created with lyrics, singing and excellent interludes.

Perhaps, at a later stage, we may want to expand this analysis to these moods as well. As this is an emerging area of research, with more information, we may either have to revisit our classifications or confirm our analysis.