National Film Award for Best Music Direction

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National Film Award for Best Music Direction
Type National
Category Indian Cinema
Description Best Music Direction and background score for a feature film of the year
Instituted 1967 (Songs)
1994 (Background Score)
First awarded 1967 (Songs)
1994 (Background Score)
Last awarded 2013
Total awarded 47 (Songs)
6 (Background Score)
Awarded by Directorate of Film Festivals
Cash award ₹50,000 (US$740)
Medal Rajat Kamal (Silver Lotus)
First awardee(s) K. V. Mahadevan
Recent awardee(s) Vishal Bhardwaj (Songs)
Gopi Sunder (Background Score)

The National Film Award for Best Music Direction (the Silver Lotus Award) is an honour presented annually at the National Film Awards by the Directorate of Film Festivals to a musician who has composed the best score for films produced within the Indian film industry.[1] The award was first introduced at the 15th National Film Awards in 1967. At the 42nd National Film Awards, an award for "Best Background Score" was instituted. It was however discontinued after that, and it was not until 2009 that the category was re-introduced. Throughout the past 46 years the government of India has presented a total of 53 awards—including award for Best Background score—to 40 different composers.

Although the Indian film industry produces films in around 20 languages and dialects,[1] the recipients of the award include those who have worked in seven major languages: Hindi (17 awards), Telugu (7 awards), Malayalam (7 awards), Tamil (6 awards), Bengali (6 awards), Kannada (4 awards) and Marathi (2 awards).

The first recipient of the award was K. V. Mahadevan who was honoured for his composition in the Tamil film Kandan Karunai (1967).[2] A. R. Rahman and Ilaiyaraaja are the most frequent winners, having each won the awards four times.[lower-alpha 1] Jaidev and Vishal Bhardwaj have won it thrice each.[3] Four musicians—B. V. Karanth, K.V. Mahadevan, Satyajit Ray and Johnson have won the award twice each. Ilaiyaraaja is the only composer to have won the award for working in three different languages—Telugu, Tamil and Malayalam—while Rahman won the award for performing in two different languages—Tamil and Hindi—including one for his debut film Roja (1992).[4][lower-alpha 2]

Johnson won the inaugural "Best Background Score" award—for Sukrutham—in 1994. When the award was reinstated in 2009, Ilaiyaraaja won it for the Malayalam film Pazhassi Raja.[7] Vishal Bhardwaj and Gopi Sunder are the most recent recipients of the award for "Best Score" and "Best Background Score" for their work in Haider and 1983 respectively.

Winners

dagger Indicates winner for Best Background Score
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year Image Recipient(s) Film(s) Language Citation
1967
(15th)		  – K. V. Mahadevan[8] Kandan Karunai Tamil  –
1968
(16th)		  – Kalyanji Anandji[9] Saraswatichandra Hindi  –
1969
(17th)		  – S. Mohinder[10] Nanak Nam Jahaz Hai Punjabi  –
1970
(18th)		  – Madan Mohan[11] Dastak Hindi  –
1971
(19th)		  – Jaidev[12][13] Reshma Aur Shera Hindi  –
1972
(20th)		  – Sachin Dev Burman[14] Zindagi Zindagi Hindi  –
1973
(21st)		 SatyajitRay.jpg Satyajit Ray[15] Ashani Sanket Bengali  –
1974
(22nd)		  – Ananda Shankar[16] Chorus Bengali  –
1975
(23rd)		 Dr. Bhupen Hazarika, Assam, India.jpg Bhupen Hazarika[17] Chameli Memsaab Assamese  –
1976
(24th)		  – B. V. Karanth[18] Rishya Shringa Kannada  –
1977
(25th)		  – B. V. Karanth[19] Ghatashraddha Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For employing the resources of sacred and folk music with unerring skill and sensitivity so as to create an atmosphere of subdued pain and loneliness and to lead the poignant theme to its tragic denouement through the tortured process of its unfolding; for the modulation of effects in terms of sound, covering music in all its variegated range within their span, for heightening the mood in each sequence, almost imperceptibly; for creating art at its concealed best.
1978
(26th)		  – Jaidev[20] Gaman Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For using the traditional light classical and folk music of U.P. to convey the nostalgia of rural migrants lost in a city. Music in Gaman is an integral part of the film.
1979
(27th)		 K. V. Mahadevan[21] Sankarabharanam Telugu  –
1980
(28th)		 SatyajitRay.jpg Satyajit Ray[22] Hirak Rajar Deshe Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For brilliant experimentation with different forms and modes of Indian music and for creating a mood of fantasy in a pleasing and harmonious style.
1981
(29th)		 Khayyam.jpg Khayyam[23] Umrao Jaan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a finely turned score which invokes the spirit of the period and for a felicitous use of music to enrich the central character of the film.
1982
(30th)		  – Ramesh Naidu[24] Meghasandesam Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For his use of classical music to enhance the aesthetic quality of the film.
1983
(31st)		 Ilaiyaraaja BHung.jpg Ilaiyaraaja[25] Saagara Sangamam Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For his lively, rich and vigorous recreation of traditional music composition and inventive musical ideas adapted to the visual demands of drama.
1984
(32nd)		  – Jaidev[26] Ankahee Hindi  –
1985
(33rd)		 Ilaiyaraaja BHung.jpg Ilaiyaraaja[27] Sindhu Bhairavi Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For innovative bleding of folk and classical music which lends strength and power to the story.
1986
(34th)		 Bmk.JPG M. Balamuralikrishna[28] Madhavacharya Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For the effective use of classical music blended with folk music.
1987
(35th)		  – Vanraj Bhatia[29] Tamas Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a thematic score on a heroic scale through melody and complex harmonic arrangements of a symphonic character to stress the human anguish during the holocaust that followed partition, helping greatly in defining the tragic dimensions of the events.
1988
(36th)		 Ilaiyaraaja BHung.jpg Ilaiyaraaja[30] Rudra Veena Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an innovative score which brings out the splendour of classical tradition and blends it beautifully with modern sensitibilities.
1989
(37th)		  – Sher Choudhury[31] Wosobipo Karbi <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting life in interior Assam with a unique background score.
1990
(38th)		 Hridaynath-Mangeshkar-2008.JPG Hridaynath Mangeshkar[32] Lekin... Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For using traditional tunes and instruments creatively, with litting melody and haunting perfection.
1991
(39th)		  – Rajat Dholakia[33] Dharavi Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For using music as an integral part of the film structure, furthering the meaning and dimensions of the theme.
1992
(40th)		 AR Rahman-2.jpg A. R. Rahman[34] Roja[lower-alpha 2] Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the harmonious blend of western and Carnatic classical music in Roja, the separate music systems complementing each other without losing their own identities.
1993
(41st)		 Johnson (composer).jpg Johnson[35] Ponthan Mada Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For his music, which exhibits imagination, competence and presentation of the changing contours of music from traditional to modern styles.
1994
(42nd)		  – Ravi (As Bombay Ravi)[36]  • Sukrutham
 • Parinayam		 Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For his melodious rendering of his tunes. The music in both the films exhibit originality and creatively highlights the entire mood of the two films, achieving musical harmony.
1994
(42nd)		 Johnson (composer).jpg Johnson[36] dagger Sukrutham Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For scoring the background music.
1995
(43rd)		 Hamsalekha.jpg Hamsalekha[37] Sangeetha Sagara Ganayogi Panchakshara Gavai Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For his authentic utilisation of classical Indian music in both the Hindustani and Karnatic style and presenting a wholesome musical structure to the film.
1996
(44th)		 AR Rahman-2.jpg A. R. Rahman[38] Minsara Kanavu Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For innovative compositions breaking all traditions, entering into new era.
1997
(45th)		  – M. M. Keeravani[39] Annamayya Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For the film's rich, classical music scores and its devotional fervor.
1998
(46th)		 Vishal Bhardwaj 2010 - still 110691 crop.jpg Vishal Bhardwaj[40] Godmother Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the Hindi film Godmother where the narrative of the film and the music bring about an excellent blend of folk and modern music. It retains the fragrance of the soil of Gujarat.
1999
(47th)		 Ismail Darbar at Vestoria fashion show (19).jpg Ismail Darbar[41] Hum Dil De Chuke Sanam Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For an innovative score that blends in the entire spectrum of Indian music form Classical to folk to embellish the musical narrative.
2000
(48th)		 Anu Malik 2009 - still 88210 crop.jpg Anu Malik[42] Refugee Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a score that blends with the story and heightens it's narrative. A great effort has been made to ensure that the compositions have all the ingredients of the music of the soul.
2001
(49th)		 AR Rahman-2.jpg A. R. Rahman[43] Lagaan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a music score, that is both regional in character and popular in appeal bringing out the ethos of Saurashtra region.
2002
(50th)		 AR Rahman-2.jpg A. R. Rahman[44] Kannathil Muthamittal Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For his original musical score highlighting the cultural conflicts and personal anguish in the story.
2003
(51st)		 Shankar Ehsaan Loy.jpg Shankar–Ehsaan–Loy[45] Kal Ho Naa Ho Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For its wide range of styles and modes, enriching the themes of the film.
2004
(52nd)		  – Vidyasagar[46] Swarabhishekam Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For the songs that are composed as per the situation and enrich the theme of the film. From the beginning to the end he has maintained traditional classical music and used Indian acoustic instruments thus bringing out the colour and flavour of Indian music.
2005
(53rd)		  – Lalgudi Jayaraman[47] Sringaram Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For bringing alive an era of great musical and dance tradition through the deft use of Indian musical instruments.
2006
(54th)		 Ashok Patki.JPG Ashok Patki[48] Antarnad Konkani <templatestyles src="Template:Hidden begin/styles.css"/>
For a judicious range of music from the classical to pop, elevating the film.
2007
(55th)		  – Ouseppachan[49] Ore Kadal Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For achieving through music the poignancy of the turmoil of unconventional love.
2008
(56th)		 Ajay-Atul 1.jpg Ajay-Atul[50] Jogwa Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For its well-researched use of traditional and folk music to reinforce the theme of the film.
2009
(57th)		 Amit Trivedi.jpg Amit Trivedi[51] Dev.D Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the innovative composition that blend contemporary and folk sounds.
2009
(57th)		 Ilaiyaraaja BHung.jpg Ilaiyaraaja[51] dagger Pazhassi Raja Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For creating epic grandeur by fusing symphonic orchestration with traditional Indian instrumentation.
2010
(58th)		 Vishal Bhardwaj 2010 - still 110691 crop.jpg Vishal Bhardwaj[52] Ishqiya Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For blending rustic flavour with the Indian classical tradition.
2010
(58th)		  – Isaac Thomas Kottukapally[52] dagger Adaminte Makan Abu Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For minimalistic use of appropriate background score to nurture the essence of the narrative.
2011
(59th)		  – Neel Dutt[53] Ranjana Ami Ar Ashbona Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For displaying a variety of contemporary musical forms that rock the city of Kolkata today. He virtually drives the narrative flow composing a variety of songs to portray the world of an ageing rock music performer who suffers from a deep feeling of inadequacy. The songs deal with the emotional and social challenges that beset the film's protagonists.
2011
(59th)		  – Mayookh Bhaumik[53] dagger Laptop Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his original style in narrating the flow of events centred around a laptop. He brings in a new dimension with his unconventional musical renderings, using both live and electronic instruments to counterpoint the urban tragedies that accompany this peripatetic laptop. The music brings in a narrative element that resonates with contemporary problems in Kolkata, a city weighed down by its own contradictions.
2012
(60th)		  – Shailendra Barve[54] Samhita Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
Versatile and soulful presentation of songs based on Raagas, backed by Indian instrumentation arranged in a manner that enhances the film.
2012
(60th)		  – Bijibal[54] dagger Kaliyachan Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
Fusion of native ensemble and percussions in a period setting is a challenge well-met by the background score.
2013
(61st)		  – Kabir Suman[55] Jaatishwar Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
The music director has presented a rich variety of musical genres of Bengal with appropriate voices, instruments and orchestration..
2013
(61st)		 Shantunu moitra.jpg Shantanu Moitra[55] dagger Na Bangaaru Talli Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
The music composer has kept a balance of music programming and regional acoustic instruments like Saraswati Veena, Mridangam, Ghatam,Morsing and voices to underline the theme of the film..
2014
(62nd)		 Vishal Bhardwaj 2010 - still 110691 crop.jpg Vishal Bhardwaj[55] Haider Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For developing the conflict of the inner and outer landscape through haunting music.
2014
(62nd)		  – Gopi Sundar[55] dagger 1983 Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For maintaining the tempo of the film with an in-sync background score.

Notes

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References

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External links

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