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Relevant bibliographies by topics / Bengali Songs

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Journal articles

Academic literature on the topic 'Bengali Songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Bengali Songs"

1

Mahmud, Nazia B. "The Aesthetic Asceticism of the Mad." COMPASS 3, no. 1 (2023): 8–19. http://dx.doi.org/10.29173/comp68.

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The Bauls of Bangladesh, West Bengal, and other parts of India are a distinct ascetic sect that practices spirituality through songs, music, and poetry that were passed down orally from a teacher (Guru) to a disciple (Shirsha). Their ideology is a mix of yogic-tantric practices of Buddhist Sahajiya, Vaishnavism Sahajiya, and later Sufi thoughts. Bauls are often called a heretic sect because of their rejection of institutionalized religion, consumerism, society, and, for many Bauls, even marriage. Baul songs and spirituality emphasize the search for the connection between man and the Divine and

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2

Tagore, Pramantha. "Songs for the Empress: Queen Victoria in the Music History of Colonial Bengal." Victorian Literature and Culture 52, no. 1 (2024): 61–83. http://dx.doi.org/10.1017/s1060150323000827.

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In the final decades of the nineteenth century, music significantly occupied the cultural and social life of the Bengali people. As the epicenter of British political and economic influence in the subcontinent, Calcutta witnessed the emergence of schools offering instruction in Indian and Western art music. The flourishing city housed private and public printing presses, which ensured the circulation and distribution of large numbers of songbooks, manuals, and theoretical treatises on music. The city was also home to a diverse assortment of hereditary music practitioners and occupational speci

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3

Dimock, Edward C. "Levertov and the Bengali Love Songs." Twentieth Century Literature 38, no. 3 (1992): 283. http://dx.doi.org/10.2307/441521.

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4

Suma, Salma Pervin, and Md Ziaul Haque. "Metaphysical Approach to Lalon’s Song." Asian Journal of Humanity, Art and Literature 6, no. 1 (2019): 59–66. http://dx.doi.org/10.18034/ajhal.v6i1.350.

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The objective of this paper is to find out the trends and tendencies of metaphysical endeavor in Lalon’s song. Lalon shah popularly known as Lalon Fakir (1774-1890), was a Bengali mystic folk poet and singer as well as philosopher and humanist. Most of his songs were composed in orally and sung at the time of travelling. His songs dealt with the themes of love, religion, caste, faith, soul, god, death etc which can be viewed from the metaphysical point of view. The way he dealt his various issues in his songs demands our special concentration to investigate how ornamentally his songs were comp

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5

Khalid, Hina. "Responding to the Call of God: The Motif of Devotional Love in the Poetry of Rabindranath Tagore and Kazi Nazrul Islam." Journal of Islamic and Muslim Studies 8, no. 1 (2023): 58–81. http://dx.doi.org/10.2979/jims.00004.

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Abstract: This article explores several thematic synergies across Hindu and Muslim devotional sensibilities through an analysis of selected songs from two influential Bengali poet-thinkers: Rabindranath Tagore (1861–1941) and Kazi Nazrul Islam (1899–1976). This study offers an exploratory engagement with these songs in the form of new translations from the original Bengali and reflections that suggest fertile theological parallels between their verses. Through a close reading of these selected songs, certain common themes are discernible, such as the paradoxes of intimacy and painful distance

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6

Lorea, Carola Erika. "“Playing the Football of Love on the Field of the Body”: The Contemporary Repertoire of Baul Songs." Religion and the Arts 17, no. 4 (2013): 416–51. http://dx.doi.org/10.1163/15685292-12341286.

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Abstract This article analyzes the contemporary repertoire of a very popular genre of Bengali folk songs, performed by itinerant singers and practitioners of an esoteric cult known as Bauls. Considering the recent popularization and commercialization of Baul songs and their interference with the urban milieu, the discourse on the authenticity of Baul songs is explored from an inter-disciplinary perspective that embraces orality-literacy studies as well as social studies on cultural tourism, underlining the limits of previous academic works on the subject. This article offers, as an original co

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7

Mukherjee, Dhrubaa. "Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict." Studies in South Asian Film & Media 12, no. 1 (2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.

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This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalis

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8

Rahman, M. Shahinoor, Mossammad Salma Sultana, and M. Mostafizur Rahman. "The Creation of Tradition and the Alteration of Social Structure by the Mystic Baul Fakir Lalon Shah." Praxis International Journal of Social Science and Literature 6, no. 5 (2023): 47–54. http://dx.doi.org/10.51879/pijssl/060506.

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This paper investigates how the Bengali poet Fakir Lalon Shah established a separate tradition of his songs and ideas. This research is also relevant to how Lalon's heritage of songs and philosophy has appeared to have formed, innovated, and altered over time. The songs of Lalon, their continued performance, how the songs get performed, and the attitudes of Lalon's devotees and the singers of his songs have all contributed to the development of a specific type of tradition. "a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual or symbolic nature, which see

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9

Mohammad Chishti, Kazi Ehteshumes. "Reviewing Nachiketa’s Lyrics as a Protest against Diverse Malpractices: A Study from a Post-colonial Perspective." Shanlax International Journal of Arts, Science and Humanities 9, no. 1 (2021): 54–63. http://dx.doi.org/10.34293/sijash.v9i1.4072.

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Songs are not always a source of recreation that soothes one’s mind with beautifully romantic hearttouching sugar-quoted lyrics. Songs may also be angry in tone and harsh in voice, as is noticeable in many of the songs of Nachiketa Chakraborty. Likewise, the crucial period of Colonialism may be over, but a more critical period of Neocolonialism is now a dominating practice in the developing countries by rich and most developed countries, mostly through their political and economic strategies. The interesting thing is that power and resistance go side by side. Nachiketa’s melodious lyrics are t

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10

Chakravorty, Swapan. "“Subjects,” “Liberty,” and “Equity”: Queen Victoria's Proclamations and Bengali Writers." Victorian Literature and Culture 52, no. 1 (2024): 226–46. http://dx.doi.org/10.1017/s1060150323000839.

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Starting with Queen Victoria's address to the Proclamation Durbar in 1877, this article surveys how Bengali writers critiqued British colonialism in India through their stories, songs, poetry, journalism, and lectures, sometimes directly about the queen herself, more often when discussing governance, social reform, and the desire for political liberty.

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