Bangladesh is traditionally very rich in its musical heritage. From the ancient times, music documented the lives of the people. Also, music was widely patronized by the rulers.
Bangla music in ancient times was mostly linked to prayer. Due to the immense influence of Hindu mythology, most folk songs are related to some sort of praise of the gods and their creation. Songs were associated with particular groups of people, such as fishermen, cart-drivers, hermits and so on. Most songs were based on classical themes.
Modernisation of Bangla music occurred at different times and most of these modernisation processes happened independently of western influence. Most notable of these changes were:
Rabindranath Tagore, a Nobel Laureate poet, wrote thousands of songs that are cherished even today. A famous writer of Bengal whose music was very popular in Bangladesh is Kazi Nazrul Islam. Lalon Fokir is a popular Bangladeshi mystic poet, famous for his spiritual tunes. See Music of Bengl for information on music that originated in greater Bengal prior to the creation of a separate nation-state of Bangladesh in 1971.
Categories
The music of Bangladesh can be broadly categorized among the following genres:
Classical music
Bangla classical, like classical music in the rest of the Sub-continent, is based on modes, called ragas (rag, in Bangla). All traditional Bangla music was based on classical music or on its variation.
Some of the most talented classical musicians of the subcontinent come from Bangladesh including Ustad Allauddin Khan.
Rabindra sangeet
Rabindra sangeet is the best-known genre of Bangla music outside Bengal. The main origin of Rabindra sangeet is the works of Nobel laureate poet, novelist and play writer, Rabindranath Tagore. (Rabindra sangeet literally means music of Rabindra).
Rabindra sangeet itself is broadly classified into few sub-genres:
puja porjai (prayer songs)
prem porjai (love songs) [some argue prem porjai is actually a part of puja porjai]
bichitra porjai
swadesh porjai (patriotic songs)
(seasonal songs)
All categories are tied by a common theme of philosophy and love. Tagore also composed most of the songs himself. Hence, a common compositional similarity is visible. All songs are based on minor variations of Sub-continental musical modes or ragas.
Rabindra sangeet forms an integral part of almost any Bengali cultural festival and is seen as one of the most important parts of Bengali cultural heritage. These songs have also been used in several movies, both in Bengali and non-Bengali cinema. The national anthems of both Bangladesh and India are Rabindra sangeets; these are "Amar Shonar Bangla" (Oh My Precious Bengal, the melody is based on a folk tune by Gogon Harkara) and "Jana Gana Mana" (Ruler of the Minds of All People, written in an older form of Bangla, closer to Sanskrit, that can be readily re-interpreted in almost all Indian languages) respectively.
In Bangladesh, until recently, Rabindra sangeet has practically been synonymous with two names: Rezwana Chowdhury Banya and Sadi Mohammad.
Nazrul geeti
Nazrul geeti, literally meaning "music of Nazrul", are the works of Kazi Nazrul Islam, national poet of Bangladesh and active revolutionary during Indian independence movement.
Unlike Rabindra sangeets mentioned above, Nazrul geetis incorporate revolutionary notions as well as more spiritual and philosophical themes. Islam used his music as a major way of disseminating his revolutionary notions, mainly by the use of strong words and powerful, but catchy, tunes. Among the revolutionary songs, Karar Oi Louho Kopat (Prison-doors of Steel) is best known and has been used several movies - especially those made during the pre-independence period of Bangladesh.
Islam also incorporated influences from Western India. He played an active role in carrying out a fusion between Western Indian ghazals and traditional Bengali classical music. (Ghazals are poems in Urdu presented with a semi-classical tune, popular in Western India.) Nazrul geetis that do not incorporate themes of protest essentially form what is now called Bangla ghazal. The music involves variation on ragas (modes) along with complicated timing based almost entirely on vocal work and complex structure.
Due to Islam's revolutionary nature and lifestyle, Nazrul geeti was not mainstream for a very long time (and possibly still is not as commercially promoted as Rabindra sangeet). Bangladeshi singer and composer, Firoza Begum, played a very big role in popularising Nazrul geeti in both Bangladesh and West Bengal. Sohorab Hossain also played a crucial role in making Nazrul geeti mainstream.
Folk songs
Bangla folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularising folk music later on.
Folk music can clearly be distinguished and classified into several sub-genres:
Baul: mainly inspired by Lalon Fokir and his Sufi way of living and almost exclusively performed by hermits who have adopted such (Sufi) life style
Bhandari: devotional music from the South (mainly Chittagong)
Bhatiali: music of fishermen and boatman, almost always tied by a common raga (mode), sung solo
Bhawaiya: song of bullock-cart drivers of the North (Rangpur)
Gajir geet: tradition song from the North (Rangpur)
Gombhira: song (originating in Chapai Nawabganj, in the North) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his grand father, discussing a topic to raise social awareness
Hason Raja: devotional songs written by music composer Hason Raja (from Sylhet near Assam) that was recently repopularised as popular dance music
Jaari: song that involves musical battle between two groups
Jatra Pala: songs associated exclusively with plays (performed on-stage) that usually always involve historical themes presented in a very colourful way
Kirtan: devotional song depicting love of Hindu god Krishno and his (best-known) wife, Radha
Pala: songs from the haor (lake) area in Sylhet, Kishoregonj, and Netrokona usually performed on stage live by folk singers
Kobi gaan: poems sung with simple music usually presented on stage as a musical battle between poets
Lalon: best known of all folk songs and the most import sub-genre of Baul songs, almost entirely attribute to spiritual writer and composer, Lalon Fokir of Kustia (Western Bangladesh, near the border with West Bengal)
Mursiya: Islamic songs of devotion of the Shi'ah groups based mainly on Western influences
Shaari: song of boatmen sung in group to match the beat of the oar movement
Upojatiyo: songs of the minor ethnic groups - worth noting, this is not really a classification since songs of these ethnic groups (of which there are at least 13 different groups) vary widely and have very distinct and intriguing characteristics
Letto's song: songs from Mymensingh (North of Dhaka) that also allegedly influenced Nazrul geeti
Wedding songs: sung all over Bangladesh but always tied by similar tunes and by, obviously, a common theme, marriage
Of these several groups, Baul song is best known and was further enriched by works of Lalon.
All folk songs are characterised by simple musical structure and words. Before advent of radio, stage performances of folk singers used to be possibly the only entertainment for the vast rural population of Bengal. After arrival of new communication and digital media, many of the folk songs were modernised and incorporated into modern songs (Adhunik songeet).
Baul geeti
Baul geeti has been such a huge influence in Bangladeshi music that it deserves being called a genre on its own. However, although Baul geeti can be characterised by particular nature of music and presentation, in general, the genre is actually also defined by a definite cult. In order to understand Baul geeti, it is necessary to understand its creators.
Baul geeti is almost exclusively performed by Bauls (hermits) who are followers of Sufism in Bangladesh. (Note that traditionally bauls were Hindus; Sufism was started following the lifestyle of Lalon Shah.) In Bangladesh, in the early days of Bauls who claimed to be Muslims, with greater focus on love of the society and harmony with nature, baul geeti had to go through a major struggle of survival as did the Bauls themselves. Bauls were subjected to harsh teasing and isolation. However, with time, Islamists were forced by the general population to accept the Bauls and their spiritual music as part of the society.
Current day Bauls in Bangladesh are Sufis and have given up claims to be Muslims. Most live simple lives on an absolute minimum, earned mainly from performing their music. Baul songs always incorporate simple words expressing songs with deeper meanings involving Creation, society, lifestyle and human emotions. The songs are performed with very little musical support to the main carrier, the vocal. Bauls, bohemian by nature and belief, leave on grand expeditions, writing and performing music on their entire trip to earn living and disseminate notion of love and spirituality.
Ektara (literally, the one-string), Dotara (literally, the two-strings), ba(n)shi (flute made from bamboo shoot)) and cymbals are used in the presentation of Baul geeti. Although, in recent days, Baul geeti has lost popularity mainly due to disruption of the lifestyle of the bauls by urbanisation and westernisation, the songs have permanently altered Bangla music, especially in the form of Lalon geeti.
Baul songs were hugely promoted by Fokir Alamgeer and Feroz Shahi in Bangladesh.
Lalon geeti
Lalon geeti is the work of composer and philosopher, Lalon Shah (also known as Lalon Fokir). Most of his songs are extensions of Baul geeti. However, his songs are always more philosophical in nature, involving greater thought about abstract themes.
Lalon geeti originated in Kushtia and has been popularised throughout the two Bengals (West Bengal and Bangladesh) by various artists. Among the proponents of Lalon geeti, Farida Parveen is particularly worth mentioning for her extensive work in modernising tunes.
Music Review Habib's latest album 'Shono'
Habib Wahid, better known as Habib, has established himself as one of the most successful musicians in the current music scene. With his first album Krishno, the talented musician gave the audience a taste of what he's about. With the second album Maya Habib's popularity soared. With his third album Moina Go, the musician changed track from his claim-to-fame folk-fusion to remakes of classic adhunik songs as well as composing original tunes. Habib also made his debut as a vocal artiste through Moina Go.
Habib's latest album Shono, released on the occasion of Eid, is a continuation of his venture into adhunik (mainly pop) songs. The album features nine songs -- all composed and rendered by him (except for one).
The first song Swapner cheyeo modhur is a quintessential melancholy sap-fest with insipid description of a dream. Not a brilliant start and that sort of sets the mood for the whole album. The second song Jaadu is not redeeming either. It sounds more like a jingle for a TV commercial than an actual song.
A music connoisseur's reaction to the third and fourth song - Mon munia and Elomelo mon -- could best be described with "so what?" Not snubbing Habib's musical skills but because the composer has set a certain standard with his previous albums, the audience expects better from him.
Habib, who is often compared to A R Rahman, did for contemporary Bangla music what the latter had done for Indian film music -- bringing in a fresh new sound. Interestingly enough, Habib seems to have stumbled upon the same block Rahman faced post Dilse and Taal -- a phase where a musical talent cannot seem to go beyond his previous achievements and tends to fall back on mediocrity and repetition. For instance the fifth song of the album Projapoti reminds one of Raat nirghum from Habib's previous album Moina Go.
Calendar-er pata, is one of two songs in the album that really stand out. The song exudes a 70's disco feel and Habib aptly brings in his father Ferdous Wahid, one of the trailblazers of Bangla pop music in the '70s and '80s, to render the song. Uncomplicated expressions and shallow words don't hinder the song from becoming a foot tapping number.
The last and perhaps the best composition in the album is Ekhoni nambey brishti. Upcoming santoor player Shantanu gets an opportunity to show off his skills and he does not disappoint. Ekram Hossain's esraaj is an added treat. Stripped off all techno vocal effects, Habib proves he can actually sing.
The album will perhaps enjoy good sales; most listeners will want to check out Habib's new album, regardless of its overall mediocrity