Prabhát Saḿgiita also known as Songs of a New Dawn and Prabhat Songs, are songs composed by Prabhat Ranjan Sarkar. 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 and Dr Debaleena Bhowmik. These are handed down from his students to their students and so on. However, there exist several poems of his that are set to music, and yet find no mention in either of the above.
#BEST OF BANGLA SONG SERIES#
Most of his musical poems are detailed in two series of books – the Gitabitan (that only has the texts of the poems) and the Swarabitan (that has the poems and their musical notation). Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan. Even illiterate villagers sing his songs". It was first sung in 1911 at a Calcutta session of the Indian National Congress and was adopted in 1950 by the Constituent Assembly of the Republic of India as its national anthem.įor 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 "here is in Bengal no cultured home where Rabindranath's songs are not sung or at least attempted to be sung. Jana Gana Mana was written in shadhu-bhasha, a Sanskritised form of Bengali, and is the first of five stanzas of the Brahmo hymn Bharot Bhagyo Bidhata that Tagore composed.
Tagore saw the partition as a cunning plan to stop the independence movement, and he aimed to rekindle Bengali unity and tar communalism. It was written - ironically - to protest the 1905 Partition of Bengal along communal lines: cutting off the Muslim-majority East Bengal from Hindu-dominated West Bengal was to avert a regional bloodbath. In 1971, Amar Shonar Bangla became the national anthem of Bangladesh.
His music is an exemplary instance of 'kavya-geeti', a style of composition that later found widespread use in the music industries at Bombay and Calcutta. Yet about nine-tenths of his work was not bhanga gaan, the body of tunes revamped with "fresh value" from select Western, Hindustani, Bengali folk and other regional flavours "external" to Tagore's own ancestral culture. Some songs mimicked a given raga's melody and rhythm faithfully others newly blended elements of different ragas. They emulated the tonal colour of classical ragas to varying extents.
Influenced by the thumri style of Hindustani music, they ran the entire gamut of human emotion, ranging from his early dirge-like Brahmo devotional hymns to quasi-erotic compositions. His songs are known as rabindrasangit ("Tagore Song"), which merges fluidly into his literature, most of which-poems or parts of novels, stories, or plays alike-were lyricised. The leading proponent of Bengali music is Rabindranath Tagore (known in Bengali as Robi Thakur and Gurudeb, the latter meaning "Respected Teacher" (in the Bengal of that time, the suffix 'deb' was an honorific, ascribed to people who enjoyed immense respect, but this title was primarily used by his students at Santiniketan, though many others did use the address/ ) Tagore was a prolific composer with around 2,230 songs to his credit. Notable in this devotional poetry is an earthiness that does not distinguish between love in its carnal and devotional forms some see connections between this and Tantra, which originated sometime in the middle of the first millennium CE.įorms Bishnupur Gharana Another writer of the time was Vidyapati. Much of the early canon is devotional, as in the Hindu devotional songs of Ramprasad Sen a bhakta who captures the Bengali ethos in his poetic, rustic, and ecstatic vision of the Hindu goddess of time and destruction in her motherly incarnation, Ma Kali. 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 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.
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