This is My Story, This Is My Song. My Language Of Life | Nise Meruno | TEDxRoyalGlobalUniversity

Key Concepts

• Five Generations of Pianists: A family legacy spanning multiple generations.
• Music as Refuge: The role of music as comfort and strength during challenging times.
• Classical Music Training: Formal education in piano, composition, conducting, and voice.
• Search for Identity/Sound: The personal journey of a musician to find their unique artistic voice.
• The Musician's Three S's: A personal framework for artistic purpose: Sound, Sincerity, Souls.
• Blending Naga Folk and Western Classical Music: The fusion of two distinct musical traditions.
• "Conversation, Not an Argument": A philosophy for integrating diverse elements harmoniously.
• Structure vs. Freedom: Contrasting characteristics of Western classical and Naga folk music.
• Art as Evolution: The belief that art, like life, is dynamic and should evolve.
• Originality as Authenticity: Defining originality as being true to oneself and one's roots.
• "Your Art Can Only Be Beautiful As Your Heart": A core personal philosophy linking artistic quality to inner character.

Musical Heritage and Early Discovery

The speaker begins by sharing his personal journey, emphasizing that everyone has a story and a song. He proudly states his family's legacy as five generations of pianists. His great-great-grandmother learned piano from American missionaries, his grandmother played until her passing at 94, his father and uncle also played, and now he, his cousin (pursuing music full-time), and their nephews and nieces continue the tradition. Growing up, holidays at his grandparents' home were filled with music, joy, and family bonding, with his grandmother often playing the piano and leading sing-alongs.

A pivotal moment occurred during a family dinner night when his grandmother played the hymn "Savior Like a Shepherd." After dinner, the young speaker, then a boy, secretly started playing the piano, surprising his family who wondered where the music was coming from, as his grandmother had already gone to eat. This discovery led to his sixth birthday gift: a piano tutor. He began lessons with Nicolo Tuzu and later with Mrs. Margaret Shishak, an American music missionary to Nagaland, crediting them for "sowing that seed."

Early Musical Journey and Pursuit of a Career

Until the age of 12, while in Nagaland, the speaker admits he was "so bad in studies," even failing in drawing. Music became his "comfort," "solace," "refuge," and "tower of strength." His routine involved school, Saturday music lessons, playing in church on Sundays, and performing at weddings or events when invited. Despite music often being labeled a "hobby" rather than a career, he felt a strong motivation to pursue it professionally, supported by his family's belief in the "power of music."

His parents sent him to a music college in Singapore, where he majored in piano and minored in composition, conducting, and voice. This experience exposed him to "wonderful musicians" and tutors, and it was his first time listening to an orchestra. As a student, he attended concerts on discount tickets and wrote feedback, initially aspiring to "fame and glory" as a concert pianist and to "travel the world."

Search for Identity and the Musician's Three S's

After his time in Singapore, the speaker returned to Nagaland, but finding limited musical opportunities, he moved to Delhi "seeking for greener pastures." There, he began teaching at various music schools and secured concert gigs, which he had "hoped and prayed for." Despite having a "good life," he felt a need to find his "sound" and "identity."

Drawing inspiration from the three S's used to measure a diamond's value (size, shape, shine), he developed his own "Three S's" for a musician:

1. Sound: The unique sound he wanted to discover and create.
2. Sincerity: The dedication and authenticity he needed to put into his craft.
3. Souls: The people he wanted to impact and "win" with his gift.

Blending Naga Folk and Western Classical Music

Around this time, he was part of the NCF Delhi community, where he was deeply intrigued by the Tatio sisters, a vocal band from Nagaland, who sang in traditional attire. This fascination led him to pose a significant challenge to himself: "How do I blend Naga folk music with my classical music training?"

His philosophy for blending was not about "choosing one or the other," but about "embracing both and to let both worlds speak honestly." He began adding folk elements to Western classical harmony, which resulted in composing numerous Naga folk-inspired choral music pieces. He expresses immense joy in hearing these compositions sung by choirs worldwide. He conceptualizes this blending as a "conversation, not an argument," where two strong, distinct worlds can interact to create something beautiful. Through this process, he found his identity not just as a musician, but as a citizen and human being, proud of both his Western musical foundation and his Naga roots.

Distinctions Between Western Classical and Naga Folk Music

The speaker elaborates on the unique characteristics of these two musical forms:

• Western Classical Music:

  • Has existed for centuries.
  • Provided him with structure and discipline.
  • Requires "number of hours and days and months" of practice to master fingering, tone, touch, phrasing, and interpretation to "honor the composer's vision."
  • Is written (scores), allowing for precise reproduction of works by composers like Mozart and Beethoven.

• Naga Folk Music:

  • Provided him with freedom and soul.
  • Is more than mere performance; it is storytelling, culture, history, and identity.
  • Is not written; it is "carried in the voices of our elders, the rhythms of daily chores, the sounds of rivers and forests."
  • Relies on memory, improvisation, and community, making it "truly special."

Evolution of Art and Musical Exercise

Drawing on the saying "art imitates life," the speaker argues that just as life evolves, art should also evolve; it is "dynamic," not static. He believes in bringing a Naga motive and mixing it with elements from a "totally different world."

He demonstrates this concept with a musical exercise:

• He introduces a famous musical motive from the Chagasang Naga tribe: "Aha" (a sustained note).
• He suggests how this "Aha" could be blended with a Western hymn like "Amazing Grace," perhaps as a drone or harmony.
• Another example involves blending "Ho ho ho ho" with "Joyful, joyful, we adore thee." This exercise illustrates the practical application of blending distinct musical elements.

Originality and Personal Philosophy

Addressing the topic "Original by Nature," the speaker asserts that being original is not about "reinventing the wheel" but about "returning and coming back to my roots." He quotes, "The deeper the roots, the stronger the tree." He defines true originality not as trying to be different or outrageous for attention, but as being "yourself completely, authentically and courageously."

He concludes by sharing a personal and profound quote: "Your art can only be beautiful as your heart." He emphasizes the importance of being a "good human being first of all" and nurturing a "beautiful heart," as he believes this becomes the "core and catalyst of all our aspirations."

Conclusion

The speaker concludes by presenting his journey as his "story" and his "song," attributing all glory with the phrase "solely deo gloria" (to God alone be the glory).