CARNATIC MUSIC is no longer the exclusive domain of the enlightened patron, the informed elite and the discerning connoisseur. The December music festival in Chennai and concerts all over the world have awakened popular interest to an unprecedented degree. The magic of the internet is taking Carnatic music to all corners of the world at the mere click of a mouse.

With all this technological advancement, widening of base and increased popularity, one comes up with the question - has the audience changed? There is no simple answer. Audiences are, to say the least, highly divergent in character, with varying tastes, views and preferences. From the cultivated taste of the discerning music buff to the layman who responds to music at a basic level, a musician has to perform to a variety of listening public. It is not possible for a single musician to satisfy all kinds of audiences, but a judicious blend of certain aspects can certainly lend an enduring and universal appeal to a musician's style.

What does an average listener look for in a music concert? A rasika is looking for a kind of release from the humdrum routine of his day's activities, to attain a satisfaction that will uplift his mood and recharge his batteries. Concert experience is a two-way process of communication where both the musician and the listener are actively engaged. The audience, to a great extent, motivates the performer to give his or her best, and it is vital for the musician to strike a sound rapport with his audience.

This is especially relevant in the case of young audiences. What is heartening is that there has been an upsurge in the number of Carnatic music afficionados among the younger generation. We had an interesting experience when we performed in the annual music festival of BITS Pilani a few years ago, where the audience comprised mainly of students. During the concert, we noticed a young man, dressed colourfully in Western attire, sporting a baseball cap, listening with an air of detached interest. We assumed he was there more out of curiosity than any interest in Carnatic music. At the end of the concert, he came up to us and said, "I particularly enjoyed your Sahana, don't you just love the way Ramnad Krishnan sings it?" We were amazed, to say the least! Here was this trendy young student, not just relating to our music, but appreciating it at such a high level.

What does the young listener expect and relate to in a concert? The typical character of youth is energy and exuberant enthusiasm, and the young listener can identify better with a pacy, vivacious mode of presentation that has life, spirit and punch. The young enthusiast expects to be satisfied from the word go and will not suffer a dull moment.

A good and strong voice that can effortlessly translate ideas into vibrant melody is definitely a big asset. The concept of voice culture gains in significance; accent on akaara and natural voice techniques can help capture the full-blooded vitality of Carnatic music. Concert planning is yet another important aspect. Variation in tempo and ragas or offering at least a few popular compositions, which the listener can identify and hum along with, add to the concert's appeal.

Yet another segment of the audience looks out or the interludes of "jugal-bandi" of swara passages. A healthy and dynamic team spirit can infuse vitality and renewed interest in the concerts. Virtuosity over one's medium, whether voice or instrument becomes a prerequisite. Yet it is important that this virtuosity be tempered with sensitivity and a sense of aesthetics. Carnatic music has so many aspects - repose, excitement, emotion - ultimately it is the aesthetic blending of these aspects that will catch the imagination of the young mind.

A complex item like the ragam-tanam-pallavi can be made exciting, with its natural variety and richness and unexpected twists and turns. It is also vital to sustain the momentum and tension of the concert. By judicious selection of the end-pieces viruttam. bhajans, thillanas - one cannot only explore the multi-faceted dimensions of Carnatic music, but also offer a rich, exciting variety of songs that can keep the listener glued to his seat.

There is an increased participation of youth, and that too not merely in the performing arena. Log into any of the numerous Carnatic music sites on the net and one is astonished by the sheer magnitude of interest and active participation of young people in such varied activities connected with music like chat shows, discussions, and concert reviews.

In the final analysis, however heterogenous the audience, there is one common strand running through all of them - and that is their instantaneous response to emotion. Anyone, whether initiated or otherwise can relate to the magic of music that is deeply felt and experienced within the heart of the musician. A viruttam or sloka rendered with feeling, a composition or raga rendered with true involvement can reach out to the rasika effortlessly and directly. Because, that is what art and music is all about - translating one's feelings into vibrant melody.

After all, the whole experience of music appreciation belongs largely to the realm of internal consciousness. No amount of reasoning logical analysis or rationalisation can capture the spirit of a concert experience.