| National Film Award for Best Music Direction | |
|---|---|
| National award for contributions to non-feature film | |
| Sponsored by | National Film Development Corporation of India |
| Reward(s) |
|
| First awarded | 1993 |
| Last awarded | 2022 |
| Most recent winner | Vishal Bhardwaj |
| Highlights | |
| Total awarded | 18 |
| First winner | Rajat Dholakia |
The National Film Award for Best Music Direction is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for non-feature films and awarded with Rajat Kamal (Silver Lotus).
The award was instituted in 1993, at 41st National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages.
Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:
| List of award recipients, showing the year (award ceremony), film(s), language(s) and citation | |||||
|---|---|---|---|---|---|
| Year | Recipient(s) | Film(s) | Language(s) | Citation | Refs. |
| 1993 (41st) | Rajat Dholakia | Sunday | Hindi | For contributing significantly to the mood of fantasy which pervades the film through refreshing music, with innovative use of the human voice. | [1] |
| 1994 (42nd) | K. P. Udayabhanu | The Myth to the Tree, The Serpent and The Mother | Malayalam | For his interesting juxtaposition of different strains of music and sound. | [2] |
| 1995 (43rd) | Shubha Mudgal | Amrit Beeja | •English • Kannada | For providing suitable support with a mix of classical and folk music. | [3] |
| 1996 (44th) | No Award | [4] | |||
| 1997 (45th) | No Award | [5] | |||
| 1998 (46th) | Biswadeb Dasgupta | A Painter of Eloquent Silence: Ganesh Pyne | English | For enriching the visuals with a contemplative sense of rhythm. | [6] |
| 1999 (47th) | No Award | [7] | |||
| 2000 (48th) | Usha Khanna | Ajeeb Ghar | Hindi | For rendering a melodious and vibrant tune, that keeps the story moving and engrossing. | [8] |
| 2001 (49th) | Bhaskar Chandavarkar | Chaitra | Marathi | For creating traditional music that blends aesthetically with the theme of the film. | [9] |
| 2002 (50th) | Raja Mitra | Kalighat Paintings And Drawings | English | For a simple yet engaging music track that brings alive the Kalighat paintings in the film of the same title. | [10] |
| 2003 (51st) | Julius Packiam | Fiddlers on the Thatch | English | For creating an ambiance of music that effectively works also as part of the main narrative. | [11] |
| 2004 (52nd) | Dhwani | Ek Sagar Kinaree... A Seaside Story | •Marathi •English | For a short film which is extremely enhanced by the accompaniment of very throbbing and engaging music. | [12] |
| 2005 (53rd) | No Award | [13] | |||
| 2006 (54th) | Ramakant Gundecha | Raga of River Narmada | Music Only | For creating a music score which becomes an invocation of the spirit of the holy river Narmada. | [14] |
| Umakant Gundecha | |||||
| 2007 (55th) | Zubeen Garg | Echoes of Silence | •English • Khasi | For the emptiness of Pori’s world is enhanced through the effective use of music, which is understated yet powerful, thus blending seamlessly into the narrative. | [15] |
| 2008 (56th) | Vipin Mishra | Narmeen | •Hindi • Punjabi | For a sensitive and evocative musical score, with an amazing use of the violin ensemble, which is both a deeply personal and universal experience. | [16] |
| 2009 (57th) | No Award | [17] | |||
| 2010 (58th) | No Award | [18] | |||
| 2011 (59th) | Dhruba Jyoti Phukan | Panchakki | Hindi | For creating minimal but mesmerising music track with traditional elements that complements the mystical quality of the film. | [19] |
| 2012 (60th) | No Award | [20] | |||
| 2013 (61st) | Anuraag Saikia | Yugadrashta | Assamese | For its spectacular blending of folk elements with a rich and nuanced classicism that conveys an enthralling period feel. | [21] |
| 2014 (62nd) | No Award | [22] | |||
| 2015 (63rd) | Aravind–Shankar | A Far Afternoon: A Painted Saga | •Hindi •English | For the harmony of notes enhancing the brush strokes breathing life through the canvas. | [23] |
| 2016 (64th) | Tanuj Tiku | Leeches | Music becomes a character of its own in subtly heightening the drama and the tragedy of the central character. | [24] | |
| 2017 (65th) | Ramesh Narayanan | Shored of Liberty | An evocative musical score that does justice to the era of the film. | ||
| 2018 (66th) | Kedar Divekar | Jyoti | For its use of folk and traditional verse and music to suitably build on this 19th century tale of women’s education. | ||
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