[Nia Bengali Movie Hd Video Songs Free Download
Melvin Amey
The earliest music in Bengal was influenced by Sanskrit chants, and evolved under the influence of Vaishnav poetry such as the 13th-century Gitagovindam by Jayadeva, whose work continues to be sung in many eastern Hindu temples. The Middle Ages saw a mixture of Hindu and Islamic trends when the musical tradition was formalized under the patronage of Sultan and Nawabs and the powerful landlords baro bhuiyans.
The earliest record of Sufism in Bengal goes back to 11th century AD in connection with the continuation of Sufism in northern India. Shah Sultan Rumi was the first Sufi to come to Bengal, when he came to Mymensingh in 1053 AD.Sufism not only helped in the spread of Islam in Bengal, but also contributed to the eventual creation of a Muslim society in Bangladesh. Apart from the religiosity, the influence of the Sufis became attached to popular Bengali culture by the confluence of the murshidi, marfati and baul songs, and gazir gan. [1]
The Bishnupur Gharana is the sole Classical (Drupad) gharana of Bengal. It originated in Bishnupur, Bankura by the court musicians of the Malla Kings. Bahadur Khan of Delhi, a descendant of the Tansen, was the father of Bishnupur Gharana. Bahadur Khan was brought to Bishnupur by Malla King Raghunath Singha II.
Murshidi Gan devotional folk songs that evolved and flourished mainly through sufis. The word 'murshid', derives from the Arabic 'ershad', and means 'to order or give advice'. A murshid gives advice to his disciples and leads them to the spiritual way by means of devotional rites.
The Bauls (meaning "divinely inspired insanity") are a group of mystic minstrels (Muslim Sufis and Hindu Baishnos) from the Bengal region, who sang primarily in the 17th and 18th centuries. They are thought to have been influenced greatly by the Hindu tantric sect of the Kartabhajas as well as by Muslim Sufi philosophers. Bauls traveled and sang in search of the internal ideal, Moner Manush (Man of the Heart or the inner being), and described "superfluous" differences between religions. Lalon Fakir, alternatively known as Lalon Shah, who lived in the 19th century in and around Kushtia, is considered to be the greatest of all bauls.
The Bengali songs composed by Bengali saint, philosopher, and social reformer Lalon are called Lalon Geeti. Lalon was against religious conflict and many of his songs mock identity politics that divide communities and generate violence. He even rejected nationalism at the apex of the anti-colonial nationalist movements in the Indian subcontinent. He did not believe in classes or castes, the fragmented, hierarchical society and took a stand against racism. Lalon does not fit the "mystical" or "spiritual" type who denies all worldly affairs in search of the soul: he embodies the socially transformative role of sub-continental bhakti and sufism. He believed in the power of music to alter the intellectual and emotional state in order to be able to understand and appreciate life itself.
For Bengalis, the songs' appeal, stemming from the combination of emotive strength and beauty described as surpassing even Tagore's poetry, was such that the Modern Review observed that "[t]here is in Bengal no cultured home where Rabindranath's songs are not sung or at least attempted to be sung... Even illiterate villagers sing his songs".[8] Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan.[5]
Some of the notable exponents of Rabindrasangeet are Shantideb Ghosh, Debabrata Biswas, Pankaj Kumar Mullick, Kalim Sharafi, Kanika Bandyopadhyay, Rajeshwari Datta, Malati Ghoshal, Nilima Sen, Suchitra Mitra, Aditi Mohsin, Rezwana Choudhury Bannya, Subinoy Roy, Chinmoy Chatterjee, Hemanta Mukhopadhyay, Dwijen Mukhopadhyay, Sagar Sen, Santosh Thakur, Purabi Mukhopadhyay, Kabir Suman, Banani Ghosh, Mita Haque, Indrani Sen, Srikanto Acharya, Shreya Guhathakurta Sahana Bajpaie Mohan Singh
Some of the notable Nazrul Geeti singers from India include Suprova Sarkar, Dhirendra Chandra Mitra, Manabendra Mukhopadhyay, Dr. Anjali Mukhopadhyay, Dhiren Bose, Adhir Bagchi, Purabi Dutta, Firoza Begum, Anup Ghoshal, and, Bangladeshi singer Sohrab Hossain.
Shyama Sangeet is a genre of Bengali devotional songs dedicated to the Hindu goddess Shyama or Kali which is a form of supreme universal mother-goddess Durga or parvati. It is also known as Shaktagiti or Durgastuti. Shyama Sangeet appeals to the common man because it is a musical representation of the relationship of eternal and sublime love and care between the mother and her child. It is free of the common rituals of worship and also the esoteric practice of the Tantra. A notable singer is Pannalal Bhattacharya.
Dwijendralal Ray's Dwijendrageeti (the Songs of Dwijendralal), which number over 500, create a separate subgenre of Bengali music. Two of Dwijendralal Ray's most famous compositions are Dhana Dhanya Pushpa Bhara and Banga Amar Janani Amar. Ray is regarded as one of the most important figures in early modern Bengali literature.
Atulprasadi, one of the major lyricist and composers of early-modern period, is also widely popularin Paschimbanga. Atul Prasad is credited with introducing the Thumri style in Bengali music. His songs centred on three broad subjects: patriotism, devotion and love.
Prabht Saḿgiita also known as Songs of a New Dawn and Prabhat Songs, are songs composed by Prabhat Ranjan Sarkar. Sarkar composed a total of 5,018 songs including the lyrics and the tune, in a period of eight years from 1982 until his death in 1990, making using of eight different languages: Bengali, Hindi, English, Sanskrit, Urdu, Magahi, Maithili and Angika.
Numerous other poets and composers had laid the foundation for the rich repertoire of Bengali music in the 19th century and early 20th century. Some stalwarts of this ear include Ramnidhi Gupta (commonly known as Nidhu Babu), Lalon Fakir, Atulprasad Sen, Dwijendralal Ray, Rajanikanta Sen and a large canon of patriotic songs from India's Independence movement.[9]
Tapan Chowdhury, Azam Khan, Abdul Jabbar, Ferdousi Rahman, Khurshid Alam, Bashir Ahmad, Syed Abdul Hadi, Shahnaz Rahmatullah, Kalim Sharafi, Abida Sultana, Kanak Chapa, Shakila Zafar, Samina Chowdhury, Kumar Biswajit, Arnob, Farida Parveen, Andrew Kishore, James, Ayub Bachchu, Mila, Anusheh Anadil, Sabina Yasmin, and Runa Laila all hailing from Bangladesh.
Notable Bengali music composers active in Calcutta (Kolkata) in the 1930s through the 1980s include Himangshu Dutta, Kamal Dasgupta, Rai Chand Boral, Pankaj Kumar Mullick, Anupam Ghatak, Sachin Dev Burman, Rahul Dev Burman Nachiketa Ghosh, Hemanta Kumar Mukhopadhyay, Salil Chowdhury, Sudhin Dasgupta, Shyamal Mitra, Kabir Suman, Nachiketa Chakraborty, Ajoy Das, and Bappi Lahiri, while Pranab Roy, Gouri Prasanna Majumdar, Kabir Suman and Pulak Bandyopadhyay were well-known lyricists. Jeet Ganguly is a modern music composer of Bengali film songs and Bollywood songs.
Western influence has resulted in the emergence of the phenomenon of Bengali bands, both in Dhaka and in Kolkata, as well as songs reflecting the joys and sorrows of the common man, Jibonmukhi Gaan (songs from life), which was inspired by Kabir Suman. Bengali bands became popular with young people in the 1970s, both in India and Bangladesh, and have since become entrenched in modern Bengali culture. Recently, traditional folk-based Bengali songs are also being released by bands.
Bangladeshi rock or Bangla rock originated in Chittagong with roots in 1960s and 1970s rock and roll. Bangladeshi rock music was influenced by the American and British rock and roll music. In the 1960s, blues rock was introduced by Zinga, The Windy Side of Care, The Lightnings, Rambling Stones etc. From early to mid 1970s pop rock music was introduced by Uchcharon, Souls, Feedback and Miles. In the 1980s number of subgenres such as hard rock and heavy metal was introduced. In the 1990s hard rock and heavy metal broke through the mainstream with bands like LRB, Feelings, Ark and Warfaze, Miles, Maqsood O' Dhaka, Souls etc. music of Bangladesh
Rock music of West Bengal originated in Kolkata, West Bengal, India. The first rock band in West Bengal was Moheener Ghoraguli and also India's first rock band. In modern times, in this type of music distorted electric guitars, bass guitar, and drums are used, and sometimes accompanied with pianos and keyboards and in early times the instruments used in the modern times were also accompanied by saxophone, flute, violin and bass violin. Bhoomi a Bengali rock band formed in 1999 has also been using flute in their music.
English bands from Kolkata include Cassini's Division, Bolepur Bluez, Insomnia, Underground Authority, Pseudonym, Chronic Xorn, are also notable. Singers like Ajoy Chakraborty and Kaushiki Chakraborty are working to bring back classical raga influence into Bengali music.
Bengali bands use a wide variety of styles such as rock, pop, folk, and fusion. Their music is influenced both by popular American music as well as traditional Bengali folk music such as Bhatiali, Bhawaiya, Shyama Sangeet and Baul.
Bangladeshi hip hop is a genre of music and culture that covers a variety of styles of hip hop music developed in Bangladesh. Bangladeshi hip hop is heavily influenced by US hip hop, and started in early 2000.
(At least it will bring some relief from unrelated discussions.)Amitabha
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Amitabha Lahiri MAPS University of Sussex A.La...@central.susx.ac.uk
No one else is responsible for what I say and vice versa.
Today it's the Bengalis, tomorrow it will be you.
>Sometime ago somebody mooted the idea (approximately) of making a database
>of Bengali songs based on various rags. All discussion on that seems to
>have ceased. Would somebody capable please resurrect the discussion?
>AmitabhaOi osot-karjer paapi ami chhilum. Rabindrasangeet aar Adhunik-er
duto file maintain korchhi. Niche juDe dilum. Adhunik-er list-er
raag-bichar amar kora - sutorang bhul thakar sombhobona bistor.Anyway, ami Chitrogupto-r bhumika palon korchhi. Apnara gaan
juDte thakun, ami file update kore jachchhi. Regards,
Sambit
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RABINDRASANGEET
^^^^^^^^^^^^^^^Amar nayano bhulano eley AleyaAnanda dhara bohichhe bhubone Malkosh
Shorge tomay niye jaabe uDiyeMalkoshEsho shyamolo shundaroDesh
Guru guru guru guru ghono megh gorojeDesh
Ke dibe aaj shantonaDeshModhuro dhwani baje hridaya kamala bono majheYamanSrabanero pabane akul bi-shonno sandhyaKedara
Seemar maajhe aseem tumiKedara
Prabhu amar priyo amarKedara
Ke dilo abar aghatKedaraSwapne amar mone holo -gha dile amar dareHambir
Modhyo dine jobe gaan bondho kore pakhiHambir Aaji komolo mukulo dolo khulilo Bahar
Aaji basanta jagroto dwareBahar
Aaji momo mono chaheBaharShei to basanta phire eloBasant BaharE porobashe robe ke hay Sindhu Kafi(this last one is a bit controvertial but i heard a classical
song exactly similar to "e porobashe" on radio (in India)
which was announced to be sindhu kafi - Joyoni).Kano cheye aachho go maKaafi
Kano pantho e choncholotaKaafi
Maajhe maajhe tobo dakha paiKaafiShakal balay alo-y baje biday byatha-r bhoirobiBhairavi
Charano rekha tobo je pathe gele lekhi Bhairavi
kano yamini na hote jagale na, bela holo Bhairavi
omolo dhobolo paale legechhe mondo modhuro Bhairavi
Sunil sagare shyamal kinareBhairaviAaji e anondo sondhyaPurvi
Asru nadi sudur paarePurvi
Nibhrito praaner debota jekhane jaagenPurviOlpo loiya thaki taiChhayanat
Jotobaar aalo jwalate chaiChhayanat
Tomaari jhornatolar nirjoneChhayanat
Gaaner surer ashonkhaniChhayanatShedin dujone dulechhinu bonePilu
Esho neepobonePilu
Era por-ke aapon korePiluBipul torngo reBhimpolosri
Amar praaner pore chole galo keBhimpolosri
Ere bhikhari sajaye ki rongoBhimpolosriAmare koro jeebon daanShankaraNishitho shoyone bhebe raakhi moneBageshri
Je raate mor duaar-guli BageshriBaani tobo dhayADana
Mondire momo keADanaJogote anondo jNogyeSarpardaNath he prempothe shob badhaDarbaariContributors: Amitabha Lahiri, Joyoni Dey, Mandar Mitra, Sambarta Rakshit,
Sambit Basu.
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ADHUNIK
^^^^^^^*E to raag noy, e je obhimaan MannaDurga
*Durga dukhohariniGyan GoswamiDurga*Poth chhaDo ogo shyam SandhyaDesh*Jhanana jhanan baaje DhananjayKalavati
*Ni-sa-ga-ma-pa...ga, ga re pakhiSandhyaKalavati
*Chholona jaani tobu paari naAjayKalavati*Ki holo chNad kanoSagarBehag
*Addin-e duijon-e ghor chheDeAnup (GBFE)Behag*Jago jago priyo rojoni pohayAkhilbondhuBhatiyar
*E kon sokaal, raater cheyeJotileshwarBhatiyar*Phuler din holo je oboshaanVismadevJayjayanti
*Damini domoke jamini jagayAkhilbondhuJayjayanti*Kamon-e janabo bolo shyamaraiAkhilbondhuTilok-kamod
*Chhonde chhonde naache nondodulalGyan GoswamiTilok-kamod*Shyam-bihone brindabon-eAkhilbondhuPilu*Nobaruno raage tumi saathiVismadevBhairavi
*Jete jete she churi kore chayAkhilbondhuBhairavi*Kano meghero chhaya aaji Gyan GoswamiDarbari
*Premer samadhi teereSachindevDarbari*Alochhaya dolaSachindevBahar
*Bone bone papiya boleTarapodo Chak.Bahar*Kholo kholo mondiro dwarTarapodo Chak.Tilang
*Ogo kajol noyona horiniHemantaTilong*Chanchala mouri e raatLataJaunpuri*Jeona dNaDao bondhuHemantaKedar