Music of Bangladesh - Page 3

Posted: 17 years ago
Music of Bangladesh

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.

History

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:

    Popularity of folk music of Sufi genres: introduction of non-Hindu notions and philosophy in music Works of Rabindranath Tagore: introduction of variations of classical music to music Works of Kazi Nazrul Islam introduction of complicated musical composition and use of music as a revolutionary tool Modernisation of folk music: bringing folk music into mainstream
  • Fusion work: fusion of traditional music with electronic instruments and Western work to revitalise and re-popularise Bangla music in a society increasingly overwhelmed by the West

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.

Edited by Qwest - 17 years ago
Posted: 17 years ago

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.

Edited by Qwest - 17 years ago
Posted: 17 years ago

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.

Edited by Qwest - 17 years ago
Posted: 17 years ago
wow...there are so many, and I didn't even know...
Posted: 17 years ago
Bangladesh Music
       
Classical forms of the sub-continent predominate in Bangladeshi dance. The folk, tribal and Middle Eastern traits are also common. Among the tribal dances, particularly popular are Monipuri and Santal. Rural girls are in the habit of dancing that does not require any grammar or regulations. Bangla songs like jari and shari are presented accompanied with dance of both male and female performers.

The traditional music in Bangladesh shares the perspectives of that of the Indian sub-continent. Music in Bangladesh can be divided into three distinct categories -classical, folk and modern. The classical music, both vocal and instrumental is rooted in the remote past of the sub-continent. Ustad Alauddin Khan and Ustad Ayet Ali Khan are two names in classical instrumental music who are internationally known.

The store of folk song abounds in spiritual lyrics of Lalan Shah, Hasan Raja, Romesh Shill and many anonymous lyricists. Bangla music arena is enriched with Jari, Shari, Bhatiali, Murshidi and other types of folk songs. Rabindra Sangeet and Nazrul Sangeet are Bangalees' precious heritage. Modern music is also practiced widely. Contemporary patterns have more inclinations to west. Pop song and band groups are also coming up mainly in Dhaka City.


Musical Instruments
Bangladesh has a good number of musical instruments originally of her own. Originally country musical instruments include, Banshi (bamboo flute), Dhole (wooden drums), Ektara (a single stringed instrument), Dotara (a four stringed instrument), Mandira (a pair of metal bawls used as rhythm instrument), Khanjani, Sharinda etc. Now-a-days western instruments such as Guitar, Drums, Saxophone, Synthesizer etc. are being used alongside country instruments.

Drama & Jatra:
Drama in Bangladesh has an old tradition and is very popular. In Dhaka more than a dozen theater groups have been regularly staging locally written plays as well as those adopted from famous writers, mainly of European origin. Popular theatre groups are Dhaka Theatre, Nagarik Nattya Sampraday and Theatre. In Dhaka, Baily Road area is known as 'Natak Para' where drama shows are regularly held. Public Library Auditorium and Museum Auditorium are famous for holding cultural shows. Dhaka University area is a pivotal part of cultural activities.

Jatra(Folk Drama) is another vital chapter of Bangalee culture. It depicts mythological episodes of love and tragedy. Legendary plays of heroism are also popular, particularly in the rural areas. In near past jatra was the biggest entertainment means for the rural Bangalees and in that sense for 80% of the population since the same percentage of the population lived in rural Bangladesh. Now-a-days jatra has been placed in the back seat in the entertainment era. Gradually western culture is occupying the place of traditional culture like jatra. Edited by Qwest - 17 years ago
Posted: 17 years ago





Bangladesh is a melting pot of races. She, therefore, has a mixed culture. Her deep rooted heritage is amply reflected in her architecture, literature, dance, drama, music and painting. Bangladeshi culture is influenced by three great religions- Hinduism, Buddhism and Islam in successive order, with Islam having the most pervading and lasting impact. Like a colorful montage, the cultural tradition of the country is a happy blending of many variants, unique in diversity but in essence greatly symmetrical.

Festivals:
A series of festivals varying from race to race are observed here. Some of the Muslim rites are Eid-e-Miladunnabi, Eid-ul-Fitr, Eid-ul-Azha, Muharram etc. Hindus observe Durga Puja, Saraswati Puja, Kali Puja and many other pujas. Christmas ( popularly called Baradin in Bangla ) is observed by Christians. Also there are some common festivities, which are observed countrywide by people irrespective of races. Pahela Baishakh (the first day of Bangla year) is such a festival. National festivals are Independence Day (26th March), 21st February (the National Mourning Day and World Mother Language Day), The Victory Day (16th December), Rabindra & Nazrul Jayanti etc.

   
Rabindranath Tagore

Literature:
Bangalees have a rich literary heritage. The earliest available specimen of Bengali literature is about a thousand years old. During the mediaeval period. Bengali Literature developed considerably with the patronage of Muslim rulers. Chandi Das, Daulat Kazi and Alaol are some of the famous poets of the period. The era of modern Bengali Literature began in the late nineteenth century Rabindranath Tagore, the Nobel Laureate is a vital part of Bangalee culture. Kazi Nazrul Islam, Michael Madhusudan Datta. Sarat Chandra Chattopadhaya, Bankim Chandra Chattopadhaya, Mir Mosharraf Hossain and Kazi Ahdul Wadud are the pioneers of modern Bengali Literature.



Music:

The traditional music in Bangladesh shares the perspectives of that of the Indian sub-continent. Music in Bangladesh can be divided into three distinct categories -classical, folk and modern. The classical music, both vocal and instrumental is rooted in the remote past of the sub-continent. Ustad Alauddin Khan and Ustad Ayet Ali Khan are two names in classical instrumental music who are internationally known.

The store of folk song abounds in spiritual lyrics of Lalan Shah, Hasan Raja, Romesh Shill and many anonymous lyricists. Bangla music arena is enriched with Jari, Shari, Bhatiali, Murshidi and other types of folk songs. Rabindra Sangeet and Nazrul Sangeet are Bangalees' precious heritage. Modern music is also practiced widely. Contemporary patterns have more inclinations to west. Pop song and band groups are also coming up mainly in Dhaka City.         & amp; nbsp;         & amp; nbsp;



Musical Instruments

Bangladesh has a good number of musical instruments originally of her own. Originally country musical instruments include, Banshi (bamboo flute), Dhole (wooden drums), Ektara (a single stringed instrument), Dotara (a four stringed instrument), Mandira (a pair of metal bawls used as rhythm instrument), Khanjani, Sharinda etc. Now-a-days western instruments such as Guitar, Drums, Saxophone, Synthesizer etc. are being used alongside country instruments.



   
Zainul Abedin's painting called 'The Rebel Cow'

Painting:
There is a rich tradition of modern painting which was pioneered by Zainul Abedin, Kamrul Hassan, Anwarul Haque, Shafiuddin Ahmed and S. M. Sultan. Zainul Abedin earned international fame for his sketches on famine of 1943 in Bangladesh. Other famous artists of Bangladesh are Abdur Razzak, Qayyum Chowdhury, Murtaza Baseer, Aminul Islam, Debdas Chakraborty, Kazi Abdul Baset, Syed Jahangir, and Mohammad Kibria

   



Drama:
Drama in Bangladesh has an old tradition and is very popular. In Dhaka more than a dozen theater groups have been regularly staging locally written plays as well as those adopted from famous writers, mainly of European origin. Popular theatre groups are Dhaka Theatre, Nagarik Nattya Sampraday and Theatre. In Dhaka, Baily Road area is known as 'Natak Para' where drama shows are regularly held. Public Library Auditorium and Museum Auditorium are famous for holding cultural shows. Dhaka University area is a pivotal part of cultural activities.



Dance:

   
Folk Dance

Classical forms of the sub-continent predominate in Bangladeshi dance. The folk, tribal and Middle Eastern traits are also common. Among the tribal dances, particularly popular are Monipuri and Santal. Rural girls are in the habit of dancing that does not require any grammar or regulations. Bangla songs like jari and shari are presented accompanied with dance of both male and female performers.



Jatra:
Jatra(Folk Drama) is another vital chapter of Bangalee culture. It depicts mythological episodes of love and tragedy. Legendary plays of heroism are also popular, particularly in the rural areas. In near past jatra was the biggest entertainment means for the rural Bangalees and in that sense for 80% of the population since the same percentage of the population lived in rural Bangladesh. Now-a-days jatra has been placed in the back seat in the entertainment era. Gradually western culture is occupying the place of traditional culture like jatra.

Traditional Transportation Means:


Palki

There are some transportation means that are parts of culture of Bangladesh. In rural areas bullock carts, buffalo carts and tomtoms (horse carts) are commonly used. In old Dhaka once tomtom was a common vehicle and still it is found, though rare. Bicycles are used both in rural and urban areas. Palki (a box-like vehicle carried on shoulders by six men) is a wedding transportation means. Brides are carried to the bridegrooms' places by Palki. Being a land crisscrossed by rivers, Bangladesh has a wide-ranged tradition of ferry transport. Wooden boat popularly called nawka is a vital means of rural communication. Rickshaw is a very common vehicle to Bangladeshis.

Clothing:
Bangladeshi women habitually wear Sarees. Jamdani was once world famous for it's most artistic and expensive ornamental fabric. Moslin, a fine and artistic type of cloth was well-known worldwide. Naksi Kantha, embroidered quilted patchwork cloth produced by the village women, is still familiar in villages and towns simultaneously. A common hairstyle is Beni (twisted bun) that Bangalee women are fond of. Traditionally males wear Panjabis, Fatuas and Pajamas. Hindus wear Dhuty for religious purposes. Now-a-days common dresses of males are shirts and pants.

Government and non-government organizations like Bangla Academy, Nazrul Institute, Bangladesh Shilpakala Academy, Fine arts Institute, Chhayanat etc. play significant role to flourish Bangladeshi art and culture providing encouragement in music, drama, dance, recitation, art etc. Many other cultural organizations are also popularizing Bangladeshi art and culture.

Edited by Qwest - 17 years ago
Posted: 17 years ago



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

Edited by Qwest - 17 years ago
Posted: 17 years ago

 

Samina Chowdhury

In conversation Siamina talks about our musical identity

Last year Samina Chowdhury was one of the judges for the talent hunt show Closeup 1. While she is not a judge this year she follows the show closely whenever she gets a chance. Commenting on last year's competition, Samina feels that people are being too critical of the winners. While she agrees that they need further grooming, she adds that it takes years of hard work, practice and experience to be a first rate singer. In her own words, "Why be so judgmental? It has just been a few months since the competition. Give them time."
After a long break Samina is back as a playback singer for movies. Talking about the difference between film songs and songs in an album, she says, "For movies there has to be character realisation. Sometimes the character is a troubled adolescent, sometimes a married housewife, sometimes a girl just in love. So the emotions are different. I have to sing keeping the character in mind. Moreover it is not me, the audience will be seeing. They will be seeing the actress and hence I try my best to make sure we match one other, that our emotions are similar."

"On the other hand in an album it's just me. So it's simpler. There aren't all these role plays and I can just play the emotion I think is right. Overall the scope is limited in albums whereas in movies the horizon is much larger.


With this generation highly influenced by foreign music, especially Indian music, Samina opines that the younger generation might end up being confused. "There is a saying in Hindi- Na gharka na ghatka which in plain English means neither this way nor that. That could be the situation for the youngsters of our country. While it is good to appreciate other cultures and listen to their songs it is not healthy to become dependent on them. One should not forget one's identity."

Samina herself enjoys remixes. "If they can uphold the sentiments that were originally intended in the old song then why not," she questions. "However there are plenty of remixes which strangles the original song and that is so painful to see."

A popular modern singer not just in the country, Samina is in demand abroad also. Last month she was in the States and on October 19 she is going to perform at a conference in Germany. Asked about the response she receives in these foreign lands, Samina marvels at their passion for Bengali music. "These are die hard fans we are talking about. I am very lucky in the sense that wherever I have performed I have got adulation from the audience. Nonetheless I still enjoy singing most in Bangladesh. The feeling is just different."

Samina along with a few others is releasing a mixed album this Eid. One of Samina's all time hits Chiquitita has been added. The song Chiquitita is based on an Abba song- Chiquitita tell me what's wrong which Samina had sung in the Bengali version in 1982 for a magazine programme. "It was a sensational hit. Since then I have been requested time and again to add it in one of my albums. Finally the song has been added and the album itself is titled Chiquitita, " says Samina. The song will be sung by the two sisters', Samina and Fahmida Nabi. Sadi Muhammad, Subir Nandi, Bappa Majumdar, Jewel, Nipo, Tarun and SI Tutul have sung solos for the album
Edited by Qwest - 17 years ago

Related Topics

No Related topics found

Topic Info

4 Participants 27 Replies 14135Views

Topic started by Qwest

Last replied by india9

loader
loader
up-open TOP