Music Style And Impact

Skilled in Carnatic music, Western classical, Hindustani music and the Qawwali style of Nusrat Fateh Ali Khan, Rahman has been noted to write film songs that amalgamate elements of these music systems and other genres, layering instruments from differing music idioms in an improvisatory manner. Symphonic orchestral themes have accompanied his scores, where he has employed leitmotif. In the 1980s, Rahman recorded and played arrangements on mono, synonymous with the era of predecessors such as K. V. Mahadevan and Vishwanathan–Ramamoorthy, but later his methodology changed. Rahman worked and experimented on fusing traditional instruments with new electronic sounds and technology.
His interest and outlook in music stems from his love of experimentation. Rahman's compositions, in the vein of past and contemporary Chennai film composers, bring out auteuristic uses of counterpoint, orchestration and the human voice, evolving Indian pop music with unique timbres, forms and instrumentation. By virtue of these qualities, broad ranging lyrics and his syncretic style, his themes appeal to several sections of Indian society.
His first soundtrack for Roja was listed in TIME's "10 Best Soundtracks" of all time in 2005. Film critic Richard Corliss felt the "astonishing debut work parades Rahman's gift for alchemizing outside influences until they are totally Tamil, totally Rahman." Rahman's initial global reach is attributed to the South Asian diaspora. Described as one of the most innovative composers to ever work in the industry, his unique style and immense success transformed film music in the 1990s prompting several film producers to take film music more seriously. The music producer Ron Fair considers Rahman to be "one of the world's great living composers in any medium.