a. I would like to advise as follows:
A musician prefers to project / execute his musical expressions essentially depending upon his own aptitude. (I am a bhakti margi and hence prefer an inward looking slow pace of alap)
b. The aptitude of a person depends upon several factors, some of which are:
i. Family Culture – a child absorbs the culture of the family and develops an aptitude in keeping with what he has inherited.
ii. A person is influenced by his environmental factors apart from his own family. One is affected by friends, educational institutions where the person is studying and been exposed to many influences, listening to difference kinds of music (great exposure to YouTube) etc.
iii. One develops a temperament depending upon which community he is born in. Different communities have different mental approaches to life and the child therefore is influenced by the same.
iv. It is well-known that with advancing age, one develops maturity over the years. This process results in evolving aptitudes at different stages of one’s life.
v. We all believe that a musician is not “made” in one lifetime and hence one’s aptitude depends also on the musical experience which one carries over from one’s previous life/lives.
c. It is true to say that the pace of alap – infact the entire presentation is related to the rasabhav of that raga. Hence the pace or even the length of the alap in ragas like Malkauns, Todi, Bhairav etc. would be much slower than the similar execution in ragas like Shankara, Hansadhwani, Bahar etc.
d. Guru’s taleem – It is not unusual to change one’s approach to music based on the taleem he has received from his Guru. Over a period of time the shagird is influenced through regular taleem sessions on lines of approach of his Guru, for whom he has tremendous respect and devotion. Thus aptitude changes, which results into preferred pace of alap.
e. Financial constraints – It is well-known that “classical” music has become “massical” music, as a result of which, the musician is constrained to adapt presentations to suit common public preference. Though his recitals for certain audience may project introspective approach, on several occasions, the pace of the entire presentation (including alap) is more related to the popular taste.
f. As a corollary of the above, influence of fusion – popular – exciting – thrilling music results into “entertainment” which the public at large these days desires. Opportunities to play authentic or undiluted music in today’s world of massical music are becoming difficult as opportunities for popular music are far in excess of opportunities to present pure classical music.