Featuring rich background and beautiful lyrics, Hindi songs are gaining increasing popularity among the people around the world.Music has been in practice in Bangaldesh region from very ancient times. Exotic tunes can be more heart-touching than the songs in your mother tongue. But music has no borders, no ethnicity. Hindi song is an important music genre that is popular with the Indian natives, and foreigners who are keen about the Indian culture.
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Udgraha and druva were compulsory, but melapak and abhog were not. However, while abhog (the fourth or concluding part or stanza of a song) is common to both charyagiti and Modern Bangla Song, udgraha (the first part of a song), melapak (the second part of a song) and druva (the third part of a song) were used instead of sthayi, antara, and savchari, which are used today. Searching for Buddhist chronicles, haraprasad shastri discovered the manuscript of Charyacharyavinischay in 1907, making this the most ancient extant text of bangla language and song. Gulzaar Chhaniwala Say My Name (Hindi Version) - Krsna Naam Reprise.The Charyacharyavinishcha, generally referred to as charyagiti, were composed by Buddhist monks or saints between the 7th to 12th centuries. In classical music the manner of rendition is important, whereas in desi songs both words and tunes are equally emphasised.Free Download Indian Bangla, Adhunik Bangla, Bangla Band/Pop & Movie Songs, Rabindra Sangeet, Nazrul Geeti, Lalon Geeti, Folk Songs + Listen OnlineHemanta, Hemanta Mukherjee, Hemanta Mukhopadhyay, Hemantas Bangla Film Songs, Hemantas Bangla Film Gaan,Hemantas Rabindra Sangeet, Bangla Gan, Old Bangla Songs, Indian Bengali Songs, Indian Bengali Music, Sandhya Mukherjee, Manna Dey, Haimonti ( Hoimonti ) Shukla, Pratima Bandopadhyay, Arati Mukherjees Bangla Gaan & Nazrul Sangeet of Firoza Begum, Old Hindi Gan, Bangla Song : Mukto Kore Dao - Arijit Singh Gopon Tumi - Eleyas Hossain.
The object of these songs was to spread the ideas of the sahajiya Buddhist saints.The nathgiti written to describe the greatness of Nath gurus, followers of Goraksanath, are contemporary with the charyapadas. The rhythmic and metaphorical charyas are written in what is referred to as sandhya bhasa. The charyapada (charyapada and charyagiti are synonymous, but the former term is used to refer to the poems as literature and the latter to refer to the lyrics as song) and Dohakos (the oldest manuscript discovered by Sastri) provide the names of many Bangali acharyas. The charyagitis are mainly devotional songs of Buddhist Sahajiyas and spread in Bengal during the reign of the Pala kings.
However, nathgiti lack the discipline of the charyapada. The other strain narrates the legend of King Manikchandra and Queen Maynamati and of how their son, Gopichandra, became a saint.The writers of nathgiti include Hadipa and kahnapa, who also wrote charyapada. The songs of Goraksanath narrate the feats of Goraksanath and describe how Goraksanath rescued his master, Minanath.
These verses, inspired by the story of radha and krishna, are a beautiful combination of words and music. Jaydev was the court poet of King laksmanasena. It may be noted that the story of Maynamati and Gopichandra is also known as Gopichandra's Panchali.One of the most remarkable contributions to music was jaydev's Gitagovinda, written in sanskrit, in the 12th century. Possibly, nathgiti was sung in a mixture of song, dance and recitation, in the manner of panchali.
The ramakri of charyagiti has become ramakiri in Gitagovinda and deshakh in Srikrishnakirtan. The following tals are used: rupak, nihsar, yati, ektal, and astatal.Several of the ragas of charyagiti are also found in the Gitagovinda as well as in Baru Chandidas' srikrishnakirtan. However, the essence of the poem lies in these 24 songs, which are sung in different ragas such as malavagauda, basanta, ramakiri, karnata, deshakh, deshavaradi, gondkiri (gunakari), malava bhairavi and vibhas. Gitagovinda consists of 12 cantos, 266 verses, and 24 songs.
Ragtarangini, an ancient musical grammar text, discusses the musical aspects of Gitagovinda and also mentions karnat, a raga that is in use in Bangladesh, especially in Bangla kirtan.In Gitagovinda there were two main singing styles: dhrupadanga and kirtananga. The tals mentioned in the Gitagovinda are still used in Bangla kirtan today. However, it is not known whether ragrupayan and the raglaksman of today are similar or not. Several of the ragas that were used in the Gitagovinda are still in use today, such as bhairavi, vibhas, basanta, desh, etc. The mallari raga is still well known.
Through the influence of Sri chaitanya, it started being sung in the form of kirtan. Originally, Gitagovinda was mainly sung in dhrupadanga. Kirtananga was melody-based and was accompanied by the dhol or mridangam.
It is a kind of pastoral song, narrating a pastoral love story and portraying village life. Srikrishnakirtan contains a total of 418 verses, each with a different tune, tal and style of singing. It is thought that it also included dancing. In this way Bangla kirtan was deeply influenced by Gitagovinda.Baru Chandidas' Srikrishnakirtan is a good example of the art of singing and is important both as a poetic song and as a verse play.
Later lyricists tried to emulate him rabindranath tagore himself was an admirer of Vidyapati and set some of his songs to music and sang them himself.Like Jaydev, Vidyapati also wrote Vaishnava songs based on the Radha-Krishna theme. His Vaishnava stanzas are highly regarded, and his themes vary between spiritual love and secular love. Although his songs were written in Maithili, they were once very popular in Bengal. In Gitagovinda, however, there are more verses written in patamanjari than there are in Srikrishnakirtan, in which the pahadi raga dominates.Vidyapati also made important contributions to Bangla song.
The kirtan singers of Bengal have immortalised him by including his verses in Rasakirtan and Palakirtan.Many Vaishnava poets, inspired by Chaitanya, wrote songs based on the story of Radha and Krishna and made them popular all over Bengal. Vidyapati's verses are beautiful for both word and tune. Rabindranath admired Govindadas and composed a tune for his song, 'Sundari radhe aoye bani' and included it in the Bhanusingha Thakurer Padavali (Bhanusingher Padavali).
Buddhists sang charya, which is in fact another form of kirtan. Apart from Chandidas and Vidyapati, other poets who contributed to this genre include Govindadas, jnanadas, maladhar basu, sheikh faizullah, syed sultan, Balaram Das, Lochan Das, Basudev Ghosh, murari gupta, and Narahari Das.In Bengal from ancient times, kirtan was sung in praise of the divine. In the words of Rabindranath Tagore, 'The joy we find in kirtan is not the joy of pure song with it we also find the aesthetic sentiment'.
The influence of jhumur can be seen in Bangla folk songs as well as in modern songs. Another part of kirtan is jhumur. There are five parts of kirtan: katha, donha, akhar, tuk and chhut.
Among the popular writers of this form were Rupchand Adhikari (1722-1792) of Murshidabad and madhusudan kinnar (Madhukan) of Banagram ( jessore). It has also influenced the panchali.Dhapkirtan is a type of pastoral song that developed from the kirtan. The manoharsahi kirtan was the most influential, particularly during the 18th and 19th centuries.
The influence of dhapkirtan can be seen in quite a number of kirtan songs by Rabindranath. Unlike the classical kirtan, however, dhapkirtan does not use complicated tals, such as dashkosi, ad, lopha, etc.
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