GHAZAL is back in town with flying colours. The tinsel town has
witnessed a strong revival of ghazals, the trend of elegant, sensible
and meaningful music.
You’re sure to believe it if you’ve heard of Anju Pant’s "Na birsen
timilai," or Madan’s "Yaha desh-ko chha chhinta," the recording
smashing numbers of the recent months. Another recent ghazal is
Rambhakta and Itu Jojiju’s ‘Jahaa bhaamar,’ fusion of eastern and
western music patterns.
Lyricist of ‘Jahaa bhaamar’ Prakash Sayami says, "Contrary to what
most believe these days, Nepali music has the very early history of
ghazal-writing and singing." Sayami is a known poet and Nepali music
researcher.
Researchers including Sayami have found that the ghazal pattern was
followed in the initial Nepali songs recorded by pioneer artiste
Seturam Shrestha and his junior colleagues at Calcutta and other
Indian studios about 80-90 years ago. "It was the ghazal genre that
ushered in modern Nepali songs," he says.
Ghazals throve on in the subsequent decades also. It gained more
momentum when artistes started using rich ghazal works of romantic
Moti Ram Bhatta and subsequently Bhim Nidhi Tiwari.
Ghazal was originally not an absolute musical genre in the earlier
days. It is traditionally the song writing that makes a song ‘ghazal.’
However, the so ‘written-ghazal’ has over the years developed a
distinct pattern of music composing and singing too, since the time of
mediaeval Persia (presently, Iran) and Mughal Rule in India. Today,
the ghazal has evolved into a popular music pattern.
Ghazal is the aesthetically rich format of literature that comprises
sensible and sober expressions dedicated to the beloved and infuses a
new, popular dimension of music into songs.
Of late, the ghazal pattern has been part and parcel of Nepali music,
with its influence chequered with many ups and downs. Nevertheless, in
Nepal, ghazal-singing could not thrive as much as ghazal-writing.
In the 1960s, this musical genre gained contributions from such senior
composers as Natikaji, Shiva Shanker and Dr. Ram Man ‘Trishit’. In the
subsequent years, Deepak Jangam, Bhaktaraj Acharya and Shakti Ballav
also followed suit.
In the mid-1980s, an institutional effort came from the then
government-owned music-publishing house Ratna Recording Corporation
released Yugkavi Motiram Bhatta’s ghazals with Deepak Jangam’s music.
The ghazal craze re-gripped Nepali listeners after famous Pakistani
singer Ghulam Ali sang MBB Shah’s songs in Nepali. Ali’s Lolayeka tee
thula, Gajalu tee, Kina kina, and Ke chha ra diun—all compositions of
Jangam became big hits.
It also coincided with a number of Nepali ghazals by Ali’s senior
virtuoso Mehendi Hassan also of Pakistan.
The market then saw a rising demand for ghazals, and mushrooming of
the ghazal restaurants in late 80s and 90s. As ghazal restaurants
proliferated to entertain the middle-class music lovers, young
aspirants like Ananda Karki, Narendra ‘Pyasi,’ Amar Tandukar and
Sailesh Singh emerged into the scene.
In composing ghazals, Shakti Ballav Shrestha is one of the front-
runners publishing two albums ‘Ghazals’ in 1994, and Saptak in 2004,
while outstanding singing talent Bhaktaraj Acharya championed a
naturally tailored ghazal numbers. Acharya’s rendition on legendary
Motiram Bhatta’s ‘Yati samma priti garee’ is the remarkable signature
in Nepali music.
Muralidhar, a Nepali-born artiste in India, came up with ghazal
glints; he proposed that Nepali ghazal be called ‘Geetal’ to replace
the Arabic diction of Ghazal. He dished out many Nepali ghazals
including ‘Tyo najarko bayaan’ in his stylish vocal rendition in the
mid-1980s and 90s.
On the ghazal-writing front, those who kept the wheel rolling are
Upendra Bahadur Jigar, Gyanuwakar Poudel, Manu Brajaki, Lalijan Rawal,
Bund Rana, Ravi Pranjal and Krishnahari Baral Lalizan Rawal,
Gyanuwakar Poudel, Mun Poudel, Pramod Snehi, Manu Brajaki, Shrestha
Piya Patthar, Dhruba Madhikarmi, Jainendra Jeewan, Manu Manjil, Bibas
Pokhrel, Shreedhar Kattel contributed their mite. They helped in
bringing about the ‘Ghazal-writing Renaissance’ in Nepal. Gyanuwakar’s
ghazal published in Ruprekha magazine in 1979 (2036 BS) was one of the
pioneering works of the Renaissance Period of ghazals.
In contemporary ghazals in Nepali music, the componential property of
qaafiyaa is the mandatory criterion. Qaafiyaa is a sort of lyrical
alliteration like Rog and Bhog. Another trend in ghazal writing here
is that writers mostly assume components of Radif and Takalluf just
optional. It also follows the current trend in ghazal singing in this
sub-continent.
Now that the ghazal genre has made its strong revival, the dominance
of westernised music including that of hip hop, R&B and rock-jazz, or
just that of indigenous ‘dohori’, is to grapple with the new
phenomenon. However, all these trends seem to remain here until the
listeners discard them.
http://www.facebook.com/note.php?note_id=259568380570&ref=mf
धेरै पछि चुपचाप सुमुसुमु आउँदा धागो कहाँनेर समाउने भन्ने अल्मलमा परिंदो रहेछ । यहिँ जोडिन मन भयो । निक्कै अघि सुरु गरेको यो गजल बल्ल यहाँ उभ्याउन सुहाउने भएको छ र त्यही लिएर आएको छु ।
तिमी नहुँदा पनि त खै रोकिएन समय । कसरी भनुँ मेरो मात्र आफ्नो थे'न समय ।
ठिकै गरेछु भुलेर हिसाब किताब राख्न , सजिलै भा'छ आज काट्न जेनतेन समय ।
अप्ठ्यारो थियो यद्दपि खुल्ला थिए बाटोहरु , हिंड्न निर्धक्क भएर उस्तै रहेन समय ।
अविच्छिन्न कुँदेपनि अनेक रुप आकारमा , सोचेजति कलात्मक खै बन्दै बनेन समय ।
अघि सारेँ भण्डार गर्न हिम्मतिलो हात मेरै , न गोजीमा , न मुठ्ठीमा कहिँ अँटेन समय ।
सुलुसुलु चिप्लिएर त्यति टाढा पुगेपछि , उल्टो तिमीले नै भन्यौ बग्दै बगेन समय ।
On Mon, Sep 7, 2009 at 7:48 PM, Deepak Khadka <deepakkha...@gmail.com>wrote:
> GHAZAL is back in town with flying colours. The tinsel town has > witnessed a strong revival of ghazals, the trend of elegant, sensible > and meaningful music.
> You’re sure to believe it if you’ve heard of Anju Pant’s "Na birsen > timilai," or Madan’s "Yaha desh-ko chha chhinta," the recording > smashing numbers of the recent months. Another recent ghazal is > Rambhakta and Itu Jojiju’s ‘Jahaa bhaamar,’ fusion of eastern and > western music patterns.
> Lyricist of ‘Jahaa bhaamar’ Prakash Sayami says, "Contrary to what > most believe these days, Nepali music has the very early history of > ghazal-writing and singing." Sayami is a known poet and Nepali music > researcher.
> Researchers including Sayami have found that the ghazal pattern was > followed in the initial Nepali songs recorded by pioneer artiste > Seturam Shrestha and his junior colleagues at Calcutta and other > Indian studios about 80-90 years ago. "It was the ghazal genre that > ushered in modern Nepali songs," he says.
> Ghazals throve on in the subsequent decades also. It gained more > momentum when artistes started using rich ghazal works of romantic > Moti Ram Bhatta and subsequently Bhim Nidhi Tiwari.
> Ghazal was originally not an absolute musical genre in the earlier > days. It is traditionally the song writing that makes a song ‘ghazal.’ > However, the so ‘written-ghazal’ has over the years developed a > distinct pattern of music composing and singing too, since the time of > mediaeval Persia (presently, Iran) and Mughal Rule in India. Today, > the ghazal has evolved into a popular music pattern.
> Ghazal is the aesthetically rich format of literature that comprises > sensible and sober expressions dedicated to the beloved and infuses a > new, popular dimension of music into songs.
> Of late, the ghazal pattern has been part and parcel of Nepali music, > with its influence chequered with many ups and downs. Nevertheless, in > Nepal, ghazal-singing could not thrive as much as ghazal-writing.
> In the 1960s, this musical genre gained contributions from such senior > composers as Natikaji, Shiva Shanker and Dr. Ram Man ‘Trishit’. In the > subsequent years, Deepak Jangam, Bhaktaraj Acharya and Shakti Ballav > also followed suit.
> In the mid-1980s, an institutional effort came from the then > government-owned music-publishing house Ratna Recording Corporation > released Yugkavi Motiram Bhatta’s ghazals with Deepak Jangam’s music.
> The ghazal craze re-gripped Nepali listeners after famous Pakistani > singer Ghulam Ali sang MBB Shah’s songs in Nepali. Ali’s Lolayeka tee > thula, Gajalu tee, Kina kina, and Ke chha ra diun—all compositions of > Jangam became big hits.
> It also coincided with a number of Nepali ghazals by Ali’s senior > virtuoso Mehendi Hassan also of Pakistan.
> The market then saw a rising demand for ghazals, and mushrooming of > the ghazal restaurants in late 80s and 90s. As ghazal restaurants > proliferated to entertain the middle-class music lovers, young > aspirants like Ananda Karki, Narendra ‘Pyasi,’ Amar Tandukar and > Sailesh Singh emerged into the scene.
> In composing ghazals, Shakti Ballav Shrestha is one of the front- > runners publishing two albums ‘Ghazals’ in 1994, and Saptak in 2004, > while outstanding singing talent Bhaktaraj Acharya championed a > naturally tailored ghazal numbers. Acharya’s rendition on legendary > Motiram Bhatta’s ‘Yati samma priti garee’ is the remarkable signature > in Nepali music.
> Muralidhar, a Nepali-born artiste in India, came up with ghazal > glints; he proposed that Nepali ghazal be called ‘Geetal’ to replace > the Arabic diction of Ghazal. He dished out many Nepali ghazals > including ‘Tyo najarko bayaan’ in his stylish vocal rendition in the > mid-1980s and 90s.
> On the ghazal-writing front, those who kept the wheel rolling are > Upendra Bahadur Jigar, Gyanuwakar Poudel, Manu Brajaki, Lalijan Rawal, > Bund Rana, Ravi Pranjal and Krishnahari Baral Lalizan Rawal, > Gyanuwakar Poudel, Mun Poudel, Pramod Snehi, Manu Brajaki, Shrestha > Piya Patthar, Dhruba Madhikarmi, Jainendra Jeewan, Manu Manjil, Bibas > Pokhrel, Shreedhar Kattel contributed their mite. They helped in > bringing about the ‘Ghazal-writing Renaissance’ in Nepal. Gyanuwakar’s > ghazal published in Ruprekha magazine in 1979 (2036 BS) was one of the > pioneering works of the Renaissance Period of ghazals.
> In contemporary ghazals in Nepali music, the componential property of > qaafiyaa is the mandatory criterion. Qaafiyaa is a sort of lyrical > alliteration like Rog and Bhog. Another trend in ghazal writing here > is that writers mostly assume components of Radif and Takalluf just > optional. It also follows the current trend in ghazal singing in this > sub-continent.
> Now that the ghazal genre has made its strong revival, the dominance > of westernised music including that of hip hop, R&B and rock-jazz, or > just that of indigenous ‘dohori’, is to grapple with the new > phenomenon. However, all these trends seem to remain here until the > listeners discard them. > http://www.facebook.com/note.php?note_id=259568380570&ref=mf
> धेरै पछि चुपचाप सुमुसुमु आउँदा धागो कहाँनेर समाउने भन्ने अल्मलमा परिंदो > रहेछ । यहिँ जोडिन मन भयो । निक्कै अघि सुरु गरेको यो गजल बल्ल यहाँ उभ्याउन > सुहाउने भएको छ र त्यही लिएर आएको छु ।
> तिमी नहुँदा पनि त खै रोकिएन समय । > कसरी भनुँ मेरो मात्र आफ्नो थे'न समय ।
> ठिकै गरेछु भुलेर हिसाब किताब राख्न , > सजिलै भा'छ आज काट्न जेनतेन समय ।
> अप्ठ्यारो थियो यद्दपि खुल्ला थिए बाटोहरु , > हिंड्न निर्धक्क भएर उस्तै रहेन समय ।
> अविच्छिन्न कुँदेपनि अनेक रुप आकारमा , > सोचेजति कलात्मक बन्दै बनेन समय ।
> अघि सारेँ भण्डार गर्न हिम्मतिलो हात मेरै , > न गोजीमा , न मुठ्ठीमा कहिँ अँटेन समय ।
> सुलुसुलु चिप्लिएर त्यति टाढा पुगेपछि , > उल्टो तिमीले नै भन्यौ बग्दै बगेन समय ।
> On Mon, Sep 7, 2009 at 7:48 PM, Deepak Khadka <deepakkha...@gmail.com>wrote:
>> GHAZAL is back in town with flying colours. The tinsel town has >> witnessed a strong revival of ghazals, the trend of elegant, sensible >> and meaningful music.
>> You’re sure to believe it if you’ve heard of Anju Pant’s "Na birsen >> timilai," or Madan’s "Yaha desh-ko chha chhinta," the recording >> smashing numbers of the recent months. Another recent ghazal is >> Rambhakta and Itu Jojiju’s ‘Jahaa bhaamar,’ fusion of eastern and >> western music patterns.
>> Lyricist of ‘Jahaa bhaamar’ Prakash Sayami says, "Contrary to what >> most believe these days, Nepali music has the very early history of >> ghazal-writing and singing." Sayami is a known poet and Nepali music >> researcher.
>> Researchers including Sayami have found that the ghazal pattern was >> followed in the initial Nepali songs recorded by pioneer artiste >> Seturam Shrestha and his junior colleagues at Calcutta and other >> Indian studios about 80-90 years ago. "It was the ghazal genre that >> ushered in modern Nepali songs," he says.
>> Ghazals throve on in the subsequent decades also. It gained more >> momentum when artistes started using rich ghazal works of romantic >> Moti Ram Bhatta and subsequently Bhim Nidhi Tiwari.
>> Ghazal was originally not an absolute musical genre in the earlier >> days. It is traditionally the song writing that makes a song ‘ghazal.’ >> However, the so ‘written-ghazal’ has over the years developed a >> distinct pattern of music composing and singing too, since the time of >> mediaeval Persia (presently, Iran) and Mughal Rule in India. Today, >> the ghazal has evolved into a popular music pattern.
>> Ghazal is the aesthetically rich format of literature that comprises >> sensible and sober expressions dedicated to the beloved and infuses a >> new, popular dimension of music into songs.
>> Of late, the ghazal pattern has been part and parcel of Nepali music, >> with its influence chequered with many ups and downs. Nevertheless, in >> Nepal, ghazal-singing could not thrive as much as ghazal-writing.
>> In the 1960s, this musical genre gained contributions from such senior >> composers as Natikaji, Shiva Shanker and Dr. Ram Man ‘Trishit’. In the >> subsequent years, Deepak Jangam, Bhaktaraj Acharya and Shakti Ballav >> also followed suit.
>> In the mid-1980s, an institutional effort came from the then >> government-owned music-publishing house Ratna Recording Corporation >> released Yugkavi Motiram Bhatta’s ghazals with Deepak Jangam’s music.
>> The ghazal craze re-gripped Nepali listeners after famous Pakistani >> singer Ghulam Ali sang MBB Shah’s songs in Nepali. Ali’s Lolayeka tee >> thula, Gajalu tee, Kina kina, and Ke chha ra diun—all compositions of >> Jangam became big hits.
>> It also coincided with a number of Nepali ghazals by Ali’s senior >> virtuoso Mehendi Hassan also of Pakistan.
>> The market then saw a rising demand for ghazals, and mushrooming of >> the ghazal restaurants in late 80s and 90s. As ghazal restaurants >> proliferated to entertain the middle-class music lovers, young >> aspirants like Ananda Karki, Narendra ‘Pyasi,’ Amar Tandukar and >> Sailesh Singh emerged into the scene.
>> In composing ghazals, Shakti Ballav Shrestha is one of the front- >> runners publishing two albums ‘Ghazals’ in 1994, and Saptak in 2004, >> while outstanding singing talent Bhaktaraj Acharya championed a >> naturally tailored ghazal numbers. Acharya’s rendition on legendary >> Motiram Bhatta’s ‘Yati samma priti garee’ is the remarkable signature >> in Nepali music.
>> Muralidhar, a Nepali-born artiste in India, came up with ghazal >> glints; he proposed that Nepali ghazal be called ‘Geetal’ to replace >> the Arabic diction of Ghazal. He dished out many Nepali ghazals >> including ‘Tyo najarko bayaan’ in his stylish vocal rendition in the >> mid-1980s and 90s.
>> On the ghazal-writing front, those who kept the wheel rolling are >> Upendra Bahadur Jigar, Gyanuwakar Poudel, Manu Brajaki, Lalijan Rawal, >> Bund Rana, Ravi Pranjal and Krishnahari Baral Lalizan Rawal, >> Gyanuwakar Poudel, Mun Poudel, Pramod Snehi, Manu Brajaki, Shrestha >> Piya Patthar, Dhruba Madhikarmi, Jainendra Jeewan, Manu Manjil, Bibas >> Pokhrel, Shreedhar Kattel contributed their mite. They helped in >> bringing about the ‘Ghazal-writing Renaissance’ in Nepal. Gyanuwakar’s >> ghazal published in Ruprekha magazine in 1979 (2036 BS) was one of the >> pioneering works of the Renaissance Period of ghazals.
>> In contemporary ghazals in Nepali music, the componential property of >> qaafiyaa is the mandatory criterion. Qaafiyaa is a sort of lyrical >> alliteration like Rog and Bhog. Another trend in ghazal writing here >> is that writers mostly assume components of Radif and Takalluf just >> optional. It also follows the current trend in ghazal singing in this >> sub-continent.
>> Now that the ghazal genre has made its strong revival, the dominance >> of westernised music including that of hip hop, R&B and rock-jazz, or >> just that of indigenous ‘dohori’, is to grapple with the new >> phenomenon. However, all these trends seem to remain here until the >> listeners discard them. >> http://www.facebook.com/note.php?note_id=259568380570&ref=mf
> धेरै पछि चुपचाप सुमुसुमु आउँदा धागो कहाँनेर समाउने भन्ने अल्मलमा परिंदो > रहेछ । यहिँ जोडिन मन भयो । निक्कै अघि सुरु गरेको यो गजल बल्ल यहाँ उभ्याउन > सुहाउने भएको छ र त्यही लिएर आएको छु ।
> तिमी नहुँदा पनि त खै रोकिएन समय । > कसरी भनुँ मेरो मात्र आफ्नो थे'न समय ।
> ठिकै गरेछु भुलेर हिसाब किताब राख्न , > सजिलै भा'छ आज काट्न जेनतेन समय ।
> अप्ठ्यारो थियो यद्दपि खुल्ला थिए बाटोहरु , > हिंड्न निर्धक्क भएर उस्तै रहेन समय ।
> अविच्छिन्न कुँदेपनि अनेक रुप आकारमा , > सोचेजति कलात्मक खै बन्दै बनेन समय ।
> अघि सारेँ भण्डार गर्न हिम्मतिलो हात मेरै , > न गोजीमा , न मुठ्ठीमा कहिँ अँटेन समय ।
> सुलुसुलु चिप्लिएर त्यति टाढा पुगेपछि , > उल्टो तिमीले नै भन्यौ बग्दै बगेन समय ।
> On Mon, Sep 7, 2009 at 7:48 PM, Deepak Khadka <deepakkha...@gmail.com>wrote:
>> GHAZAL is back in town with flying colours. The tinsel town has >> witnessed a strong revival of ghazals, the trend of elegant, sensible >> and meaningful music.
>> You’re sure to believe it if you’ve heard of Anju Pant’s "Na birsen >> timilai," or Madan’s "Yaha desh-ko chha chhinta," the recording >> smashing numbers of the recent months. Another recent ghazal is >> Rambhakta and Itu Jojiju’s ‘Jahaa bhaamar,’ fusion of eastern and >> western music patterns.
>> Lyricist of ‘Jahaa bhaamar’ Prakash Sayami says, "Contrary to what >> most believe these days, Nepali music has the very early history of >> ghazal-writing and singing." Sayami is a known poet and Nepali music >> researcher.
>> Researchers including Sayami have found that the ghazal pattern was >> followed in the initial Nepali songs recorded by pioneer artiste >> Seturam Shrestha and his junior colleagues at Calcutta and other >> Indian studios about 80-90 years ago. "It was the ghazal genre that >> ushered in modern Nepali songs," he says.
>> Ghazals throve on in the subsequent decades also. It gained more >> momentum when artistes started using rich ghazal works of romantic >> Moti Ram Bhatta and subsequently Bhim Nidhi Tiwari.
>> Ghazal was originally not an absolute musical genre in the earlier >> days. It is traditionally the song writing that makes a song ‘ghazal.’ >> However, the so ‘written-ghazal’ has over the years developed a >> distinct pattern of music composing and singing too, since the time of >> mediaeval Persia (presently, Iran) and Mughal Rule in India. Today, >> the ghazal has evolved into a popular music pattern.
>> Ghazal is the aesthetically rich format of literature that comprises >> sensible and sober expressions dedicated to the beloved and infuses a >> new, popular dimension of music into songs.
>> Of late, the ghazal pattern has been part and parcel of Nepali music, >> with its influence chequered with many ups and downs. Nevertheless, in >> Nepal, ghazal-singing could not thrive as much as ghazal-writing.
>> In the 1960s, this musical genre gained contributions from such senior >> composers as Natikaji, Shiva Shanker and Dr. Ram Man ‘Trishit’. In the >> subsequent years, Deepak Jangam, Bhaktaraj Acharya and Shakti Ballav >> also followed suit.
>> In the mid-1980s, an institutional effort came from the then >> government-owned music-publishing house Ratna Recording Corporation >> released Yugkavi Motiram Bhatta’s ghazals with Deepak Jangam’s music.
>> The ghazal craze re-gripped Nepali listeners after famous Pakistani >> singer Ghulam Ali sang MBB Shah’s songs in Nepali. Ali’s Lolayeka tee >> thula, Gajalu tee, Kina kina, and Ke chha ra diun—all compositions of >> Jangam became big hits.
>> It also coincided with a number of Nepali ghazals by Ali’s senior >> virtuoso Mehendi Hassan also of Pakistan.
>> The market then saw a rising demand for ghazals, and mushrooming of >> the ghazal restaurants in late 80s and 90s. As ghazal restaurants >> proliferated to entertain the middle-class music lovers, young >> aspirants like Ananda Karki, Narendra ‘Pyasi,’ Amar Tandukar and >> Sailesh Singh emerged into the scene.
>> In composing ghazals, Shakti Ballav Shrestha is one of the front- >> runners publishing two albums ‘Ghazals’ in 1994, and Saptak in 2004, >> while outstanding singing talent Bhaktaraj Acharya championed a >> naturally tailored ghazal numbers. Acharya’s rendition on legendary >> Motiram Bhatta’s ‘Yati samma priti garee’ is the remarkable signature >> in Nepali music.
>> Muralidhar, a Nepali-born artiste in India, came up with ghazal >> glints; he proposed that Nepali ghazal be called ‘Geetal’ to replace >> the Arabic diction of Ghazal. He dished out many Nepali ghazals >> including ‘Tyo najarko bayaan’ in his stylish vocal rendition in the >> mid-1980s and 90s.
>> On the ghazal-writing front, those who kept the wheel rolling are >> Upendra Bahadur Jigar, Gyanuwakar Poudel, Manu Brajaki, Lalijan Rawal, >> Bund Rana, Ravi Pranjal and Krishnahari Baral Lalizan Rawal, >> Gyanuwakar Poudel, Mun Poudel, Pramod Snehi, Manu Brajaki, Shrestha >> Piya Patthar, Dhruba Madhikarmi, Jainendra Jeewan, Manu Manjil, Bibas >> Pokhrel, Shreedhar Kattel contributed their mite. They helped in >> bringing about the ‘Ghazal-writing Renaissance’ in Nepal. Gyanuwakar’s >> ghazal published in Ruprekha magazine in 1979 (2036 BS) was one of the >> pioneering works of the Renaissance Period of ghazals.
>> In contemporary ghazals in Nepali music, the componential property of >> qaafiyaa is the mandatory criterion. Qaafiyaa is a sort of lyrical >> alliteration like Rog and Bhog. Another trend in ghazal writing here >> is that writers mostly assume components of Radif and Takalluf just >> optional. It also follows the current trend in ghazal singing in this >> sub-continent.
>> Now that the ghazal genre has made its strong revival, the dominance >> of westernised music including that of hip hop, R&B and rock-jazz, or >> just that of indigenous ‘dohori’, is to grapple with the new >> phenomenon. However, all these trends seem to remain here until the >> listeners discard them. >> http://www.facebook.com/note.php?note_id=259568380570&ref=mf
