Hindu Tamil Mp3 Songs

[Apolito Ghosh]

Hindumusic is music created for or influenced by Hinduism. It includes Indian classical music, Kirtan, Bhajan and other musical genres. Raagas are a common form of Hindu music in classical India.[1]

The most common Hindu bhajan in North India is "Om Jai Jagdish Hare." The names of Gods are religiously chanted, often including Vishnu and his incarnations, Shiva and the Goddess (Parvati, Shakti, Vaishnodevi).

A bhajan is a Hindu devotional song, often of ancient origin. Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine, whether for a single God and Goddess, or any number of divinities.[2] Many bhajans feature several names and aspects of the chosen deity, especially in the case of Hindu sahasranamas, which list a divinity's 1008 names. Great importance is attributed to the singing of bhajans with Bhakti, i.e. loving devotion. "Rasanam Lakshanam Bhajanam" means the act by which we feel more closer to our inner self or God, is a bhajan. Acts which are done for the God is called bhajan.[3]

Traditionally, the music has been Indian classical music, which is based on ragas and tala (rhythmic beat patterns) played on the Veena (or Been), Sarangi Venu (flute), Mridanga(or Tabla) (traditional Indian instruments). The Sikh Scripture contains 31 ragas and 17 talas which form the basis for kirtan music compositions.

Hindus are even said to have achieved Moksha through devoting music to God. For example, in the Rig Veda Gargi, the wife of Yajnavalkya, through her excellence in veena playing, an incident that caused Sage Yagnavalkya to write the famous verse:

All baleen whales, also including the fin, sei, right, gray, minke, bowhead and others, make very-low frequency calls barely audible to humans. A few species including the humpback and bowhead produce the higher-pitched sounds that people would be more familiar recognising as whale songs.

The researchers performed laboratory experiments using larynxes of dead sei, common minke and humpback whales stranded on beaches in Denmark and Scotland. They also developed a three-dimensional computer model of the whale larynx to simulate the effect of muscle contractions on sound.

In baleen whales, arytenoids are large and stiff, forming kind of a ring that can press against the laryngeal cushion. When the whale exhales, this cushion vibrates from the airflow in an undulating motion, generating the sounds.

The larynx evolved when the first land vertebrates started breathing air and needed to separate food from air to prevent choking. Whales evolved from land mammals roughly 50 million years ago. The larynx modification let baleen whales vocalise underwater, while protecting their airways.

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VARSHA KRISHNAMOORTHY: I'm currently sitting in my ancestral village. This is where my grandpas' grandpas' grandpas and all of them retired. And they come back to this village when they grow old. We are in the middle of a function right now for my grandpa, so I'm actually sitting in his home in a sari. So I think that I'm definitely in the midst of reconnecting to my roots right now.SACHA PFEIFFER, HOST: Varsha Krishnamoorthy is a 21-year-old singer-songwriter of Indian descent. She's also one of the hundreds of musicians who submitted a song to this year's Tiny Desk Contest, and she was a standout for her song called "Woman."(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) I am woman.PFEIFFER: She calls it fusion music. She blends the sounds of traditional Indian songs with American R&B. Krishnamoorthy says her music is influenced by having lived all around the world and regularly spending time with her family in India.KRISHNAMOORTHY: I grew up visiting India almost every summer, and it definitely feels like I learn a lot every time I come back here. And I take little bits of those lessons and try and implement them in my sound, and I think it definitely reflects in my artistry.(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) I am desire. I am beauty. I'm affection, introspect within. I am what has been.The song is about the experience of South Asian women and all of the different aspects of what it means to be a South Asian woman. And it's particularly told through the lens of Durghama, who is one of the most powerful, all-encompassing Hindu goddesses.(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) I am woman. I am woman.The strength of a woman, the beauty and nurturing aspects of a woman, how she flows, the curves, you know, the union which is womanhood, all of those things I took from different names that Durghama is called and what those different names mean.(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing in non-English language).I always knew that I wanted to include it in the song because this specific prayer is for Durghama. And because I was writing it from the lens of all of her different incarnations and manifestations, I wanted to make sure that I included a prayer to her. It is basically saying, glory to Durghama in all of her auspiciousness and salutations to her. I know that recently there's been kind of a wave of Indian fusion artists that are coming up, and I think that's so exciting. And I think that that sort of representation is so important for Indian or Desi kids or South Asian kids growing up in the West to have that sort of representation and say that, oh, I can be from the U.S. or from a Western country and still be proud about my Indian identity. So that's why I think that it was so important to me that I do this song specifically for the competition.PFEIFFER: That's Varsha Krishnamoorthy. Her submission to the Tiny Desk Contest is called "Woman."(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) Universe and time, hundred-eyed, day and night...

Deep-rooted biases, fears and anger towards Muslims, combined with such songs that only accentuate these ill feelings, are increasingly becoming a dangerously combustible mix, driving mobs to violence and reprisals.

This is just one in over thousands of such songs that are churned out constantly by artistes and small-time studio productions across the country. The songs help articulate hardline stances on various topical and historical issues, thereby making it easier for listeners to grasp complex subjects through catchy lyrics and beats.

Increasingly, links between hate music and real-life violence are becoming clearer. In the 1990s, in the run-up to the horrific Rwandan genocide of the minority Tutsi tribe by the majority Hutu tribe members, which led to over 800,000 deaths, two radio stations controlled by the Hutus, Radio Rwanda and the Radio Tlvision Libre des Mille Collines, played songs that were inflammatory, polarising and demonised the Tutsis.

This was not an exception. In neighbouring Myanmar, for decades now, Rohingya Muslims have been targeted with violence and displacement. The violence perpetrated by state and non-state Buddhist actors against them has led to nearly a million Rohingyas fleeing their homes and taking refuge in neighbouring countries. There is evidence building up that shows that music has played a role in fomenting this hate against the dispossessed community.

Research has found how songs, containing hate-filled lyrics targeting the Rohingyas, has been commonly found on the internet and widely disseminated in Myanmar. These songs broadly reiterate four themes: they seek to reinforce the prejudice that Muslims do not belong to the Myanmar nation and that the nation is meant for one ethnic group, which is the Burman majority, and reiterate how to be Burman is to be Buddhist, linking citizenship to faith. They insist that the majority Buddhism and Buddhist people are under threat from the minority Muslims and, hence, need to be protected, even if it requires force. The third theme that it reiterates is how Muslims are engaged in a conspiracy for a demographic takeover of Myanmar and, hence, Buddhists must not marry Muslims and, in effect, try to ensure they do not get any marriage partners. Lastly, the songs call for an economic boycott of the Muslims as a way to disrupt the purported Islamic conspiracy to exploit Myanmar financially.

The frenzied fury against Muslims began with provocative songs played by Hindu mobs that called for violence. It ended with Muslim neighborhoods resembling a war zone, with pavements littered with broken glass, charred vehicles and burned mosques.

Soon groups of Hindus and Muslims began throwing stones at each other, police said. By the time the violence subsided, the Muslims were left disproportionately affected. Their shops and homes were looted and set ablaze. Mosques were desecrated and burned. Overnight, dozens of families were displaced.

It was the latest in a series of attacks against Muslims in India, where hard-line Hindu nationalists have long espoused a rigid anti-Muslim stance and preached violence against them. But increasingly, incendiary songs directed at Muslims have become a precursor to these attacks.

The violence in Khargone left one Muslim dead and the body was found seven days later, senior police officer Anugraha P. said. She said police arrested several people for rioting but did not specify whether anyone who played the provocative songs was among them.

Music in a variety of languages, and often in praise of various Hindu deities, has historically been an important part of Hinduism. Bhajan, a style of devotional music performed in temples and homes, remains a key part of this tradition. But observers say the gradual rise of Hindu nationalism has encouraged a more aggressive form of music that spawns anti-Muslim sentiments.

On Saturday, the same song was played in New Delhi during a procession marking another Hindu festival. TV broadcasts showed hundreds of Hindu youth, brandishing swords and homemade handguns, marching through a Muslim neighborhood as loudspeakers blasted the hate-filled music.

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