This article gives an introduction to Maestro Ilayaraja's contribution to Telugu film music. Though a complete listing of his contribution is beyond the scope of this article, a few his major films and songs that have set the trend for Indian film music and also serve as a textbook for students of music, have been indicated.

Maestro Ilayaraja presents a unique form of music that is a perfect blend of the western and Indian musical forms. He applies this form of music to match every kind of mood that is demanded by situations in Indian films.

The Maestro has done an outstanding contribution to the world of light music (in films). He has used ragas ranging from simple pentatonic scales like mohanam, madyamavathi, sudha dhanyasi to major ragas like Keeravani, Kalyani and Dharmavathi, to bring out soul stirring melodies that captivate the minds of their listeners. His melodies in films like Abinandana, Anvaeshana, Geethanjali, Kokila and Chanti are a few examples of the trend that has been set by the Maestro. The prime feature of this trend is the fusion of western classical music with Indian classical. The amazing chord progressions and three part counterpoints synchronized over simple and complex rhythm patterns and time cycles mark the Maestro's harmoniously unique orchestration. The Maestro has shown how this same form of fusion can be used to make music for the masses, in films like Bobbili Raja, Jagadheka Veerudu Athiloka Sundari, Siva and DharmaKhesthram.

The Maestro's music in films like Swarnakamalam, Sagarasangamam, Alapana, Sankeertana and Rudraveena remain as perfect examples of carnatic classical compositions in telugu film music. These films present traditional carnatic classical music applied to match various situations. Some of the songs in these films have been composed for Indian classical dance situations.

Maestro Ilayaraja's music is known for its power to take its listeners close to the mood of the song. This feature can be particularly found in his south Indian folk music which virtually brings the feel of a village environment. Specific examples of such songs include: Nammaku Nammaku Eraeyini…(Rudraveena), Kanti Choopu Chaalunaiyya…(Chinna Rayudu), Sannajaji Padaga…(Kshatriya puthrudu).

Maestro Ilayaraja has not only set a trend for songs in film music, but has also proved the power of music to match different moods, through his background scores. His symphony for the background score in the film HeyRam is an example that shows how western classical music can be applied to an Indian context. Through his excellent timing and apt choice of sounds the Maestro has proved the importance of background score for a film.

Thanks to Maestro Ilayaraja for his wonderful musical gift to the Telugu music world.

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Note: The author RS Balaji is a disciple of Maestro Ilayaraja.