Bigg Boss 19- Daily Discussion Thread - 14th Oct 2025
ASTHIN KA SAANP 14.10
Bigg Boss 19: Daily Discussion Thread - 15th Oct '25
KARWA CHAUTH 15.10
Yeh Rishta Kya Kehlata Hai October 15, 2025 EDT.
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Classical music very much has a place in Bollywood. Even now we find music directors occassionally churning out good classical based songs and these songs become popular too.
Originally posted by: mbharat2007
Classical music very much has a place in Bollywood. Even now we find music directors occassionally churning out good classical based songs and these songs become popular too.
Unfortunately, some of the mentors of Saregamapa have been giving negative comments about those participants who sing classical based songs or songs from old films dubbing them as being out of place with the current trends. These type of comments has made classical based songs literally extinct from Saregamapa.
Hate to digress from the comments of one of my fave commentators but in the spirit of calling a spade a spade , Dabulls 23 , have you given any thought to the fact that Monty was assistant to ID.. Parthiv is an old fave of ID & MS.. I find it hard to beleive that a GENIUS (in music only :-) ) like ID will seek to steal credit for a small improvisation... His creating this improv. impromptu in discussions with Monty Parthiv etc. seems a more plausible scenario which Parthiv learned & performed in US.. ID remains the ONLY md who has, uptil now ,not sold out to the machinations of the box office & I would urge caution in denouncing a rare nonconformomist ..
Just pure conjecture, but IMHO this is a more plausible theory.
Hate to digress from the comments of one of my fave commentators but in the spirit of calling a spade a spade , Dabulls 23 , have you given any thought to the fact that Monty was assistant to ID.. Parthiv is an old fave of ID & MS.. I find it hard to beleive that a GENIUS (in music only :-) ) like ID will seek to steal credit for a small improvisation... His creating this improv. impromptu in discussions with Monty Parthiv etc. seems a more plausible scenario which Parthiv learned & performed in US.. ID remains the ONLY md who has, uptil now ,not sold out to the machinations of the box office & I would urge caution in denouncing a rare nonconformomist ..
Just pure conjecture, but IMHO this is a more plausible theory.
Hate to digress from the comments of one of my fave commentators but in the spirit of calling a spade a spade , Dabulls 23 , have you given any thought to the fact that Monty was assistant to ID.. Parthiv is an old fave of ID & MS.. I find it hard to beleive that a GENIUS (in music only :-) ) like ID will seek to steal credit for a small improvisation... His creating this improv. impromptu in discussions with Monty Parthiv etc. seems a more plausible scenario which Parthiv learned & performed in US.. ID remains the ONLY md who has, uptil now ,not sold out to the machinations of the box office & I would urge caution in denouncing a rare nonconformomist ..
Just pure conjecture, but IMHO this is a more plausible theory.
| Chaand chupa [Hum dil de chuke sanam] <TC> |
| Composer: Ismail Darbar |
| Inspired by the Love story theme by Francis Lai |
| Listen to Francis Lai's theme from Love Story | Chaand chupa |
| Inspired. |
| Ai ajnabee [Deewangi (2002)] <TC> |
| Composer: Ismail Darbar |
| Lifted from Portugese 'Fado' singer, Dulce Pontes' song, 'Cancao do mar'! |
| Listen to Ai Ajnabee | Cancao Do Mar |
| Two interesting things to note here....'Cancao do mar' was part of the soundtrack of 'Primal fear' from whose plot Deewangi has been inspired. And second, 'cancao do mar' has already been lifted as-is in Tamil, for the movie Kushi, with music by Deva! This is probably Ismail Darbar's first blatant lift...I can almost see Director Anees Bazmee and Producer Nitin Manmohan compelling Ismail to lift this number...but you never know...! Also listen tothe Tamil version Oh Vennila [Kushi] |
| Nimbuda Nimbuda [Hum Dil De Chuke Sanam (1999)] <TC> |
| Composer: Ismail Darbar |
| Inspired by Ghazni Khan Manganiyar's Rajasthani Folk song, 'Nimbuda' |
| Listen to Nimbuda [Hum Dil De Chuke Sanam] | Nimbuda [Original] If you'd like to listen to the full version of the folk song, (check out 'Nimbuda Nimbuda'!) |
| Take a look at these 2 (out of many other sites) sites that talk of this song being a lift from a Rajasthani Manganiyar folk song! Diverse Strains | Sunday Tribune I completely agree with Shuba Mudgal (who has penned the write-up in Diverse Strains) when she asks, "If we can listen to a folk song in a blockbuster movie, why can we not give an occasional patient hearing to the original?" Ismail Darbar had a wonderful chance to handle this in the right way, but I wonder why he messed it up and ended with a 'plagiarist' tag - that too in his much-celebrated debut. All he had to do was to add a note of credit to the original composer of the song, Rajasthani folk singer Ghazni Khan Manganiyar, so that people can differentiate between the original and the Bollywood version - when you listen to the two you'd understand the kind of work that Ismail has put in, in his version and made a simple, 'otherwise-restricted-to-a-few-discerning-listeners' track into an ultra-catchy dance number! Its a pity that decided to pass it as his original composition. |
Diverse strains
SHUBHA MUDGAL
CONTEMPORARY discussion and analysis of Indian music, and the challenges it faces in modern times, inevitably leads to the constant depressing refrain that with each passing day it continues to deteriorate and suffer in terms of quality and content. The consensus in most cases seems to be that old is sure to be gold and the new or contemporary must necessarily be deemed trash and dumped, if not bitterly criticized.
Surrounded by these voices of lament, as it were, the task of examining facts and putting them in their proper perspective becomes an imposing task, particularly given that my personal association with Indian music in the twin roles of learner-practitioner is just a little over two decades old. Added to this, the sheer diversity of Indian musical forms makes it impossible for any one individual to have exhaustive knowledge of the entire range and gamut of these forms. Hence, it is with due humility that I approach the challenge.
While scholars of Indian music have defined and written of several different categories of music in India, this attempted overview focuses primarily on art music or what is popularly known as classical music, folk and tribal music, and modern popular including film music, 'fusion' music and the more recent Indipop genre. Despite having stated these categories, it is virtually impossible to contain any music, least of all Indian music in such neatly labelled and organized categories, and hence there are constant spillovers. It is perhaps only in the shelves of music stores, or in the chapters of books on music that these categories remain clearly demarcated.
Elsewhere, in the actual practice of music, there is and has always been liberal give and take, borrowing, lending and adaptation. Sections of qawwali repertoire find their way into khayal repertoire aka the celebratory Bahar composition, 'Sakalban phool rahi sarson'. The thumri and dadra repertoire has generous doses of folk music; thumri diva Naina Devi often pointed out to disciples the influence of haveli sangeet (the music of the Krishna temples of the Vaishnava cult) on thumri.
Film music in India has from its early days generously helped itself to folk forms, usually without acknowledgement, a practice that continues to date. A recent instance of such a tendency is the unabashed incorporation of 'nimbuda nimbuda', a Rajasthani langa and manganiyar song, in a Bollywood blockbuster. Indipop, on the other hand, could as easily be renamed Punjabi pop since a majority of chartbusters combine Punjabi bhangra beats and melodies with hip-hop. More than ever before, mixing, matching, sharing, blending, adapting, fusing, collaborating and experimenting is the order of the day much to the chagrin of the purists and traditionalists who prefer to forget that the ability to adapt and absorb from diverse influences has always been a principal characteristic of Indian music.
