A fruitful innovation can be made by retaining or restricting the conceptual value and communicative value of varied music resources, using them comparatively to attain the desired goals. In rendering her voice to folk songs such as ‘Podi Nangi Tikkak Hitapan’ which is based on Sinhala folk music, she deviates from all the major traditions of music, which represents the authentic Sri Lankan female folk voice. She had acquired the Tamil influence when she had visited several times to India with her mother Wimala Kantha during her younger days. When she sings in Tamil, she does not clue of the slenderest Sinhalese inspiration, and when she sings a song in the North Indian classical music tradition, she is not influenced by South Indian or the Carnatic tradition of music although she is an expert in both. Sujatha could play many musical instruments conquering the Harmonium and Sitar, also excelling in taking down singing notations in quick succession Sujatha could sing in numeral styles and languages including Tamil and Hindi.
Since then she had not looked back apart from deploying diverse techniques such as Gamak, Tan, Meend, and singing styles such as Khayal, Dhruvpad, Tarana and Dhamar that measure their theoretical and animated values, the guiding philosophy of the inventiveness of music meth artistry, deploying diverse techniques.
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