Relevant bibliographies by topics / Bengali Songs

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

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"

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Mahmud, Nazia B. "The Aesthetic Asceticism of the Mad." COMPASS 3, no. 1 (September 29, 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 love and symbolize the Bengali folk identity. In this paper, placing Baulism within the Anthropology of Art vs. Aesthetics discourse, I show how Baul songs, and their lifestyle can be both. I discuss the rising appropriation of Baul folk music and aesthetics by modern media and in capitalist spaces and how it started to gain traction when the elite society started to acknowledge Bengali folk music. Baul giti (song) is an established genre of music, and they tend to mediate between both art while providing aesthetic appreciation. With the rise of village core aesthetics and romanticization, their music, style, and philosophy have found new spaces in media, fashion, and business.
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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 specialists illustrative of a variety of musical traditions spread across Bengal and North India. Around the 1870s, Bengali musicians, patrons, and connoisseurs began to take up music as an intellectual activity, examine its history as a source for social and political substance, and view musical instruments as material objects for disciplinary study. This emerging interest in musicology, broadly conceived, coincided with the proclamation of Victoria as queen and empress of India, considerably transforming Bengal's political fabric and cultural worldview. The pioneering musicologist Sourindro Mohun Tagore (1840–1914) was among the many authors who published works celebrating Queen Victoria's ascension as empress of India. In this article, I examine Tagore's songbooks dedicated to the queen, reading them as cultural artifacts representing a richly nuanced historical and musical legacy: a textual and aural archive demonstrating how Bengali musicians used sound to mediate the effects of colonization.
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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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Suma, Salma Pervin, and Md Ziaul Haque. "Metaphysical Approach to Lalon’s Song." Asian Journal of Humanity, Art and Literature 6, no. 1 (June 30, 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 composed using metaphysical conceit, incongruous imagery, complexity and subtlety of thought, frequent use of paradox, and often by deliberate harshness or rigidity of expression. So, this study will try to shed lights on the theme, philosophy and style of Lalon’s song through the metaphysical perspective.
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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 (May 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 as constitutive of the divine-human relation, the world as suffused with the creative word(s) of God, and the illumination of the heart as key to the spiritual life. These themes can be organized under the broader relational rubric of "call-and-response:" God's call to humanity is voiced in various ways in the world, eliciting a reciprocal response that is both devotional and loving. While these songs are marked by distinctive scriptural imageries, including references to both the Upanishads and the Qur'ān, their mutual resonances speak to shared sensibilities that are modulated by characteristically Bengali idioms and symbolisms.
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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 contribution, the first results of ongoing fieldwork among the disciples of a śākta saint and composer of Baul songs known as Bhaba Pagla. Through discussion of the lyrics of songs performed in contemporary Baul festivals, this article argues that the contamination of Baul songs by urban élites and middle-class audiences, far from deteriorating the oral tradition, may enrich the vocabulary of the compositions and reinforce the underlying belief system. Contrarily to the popular and academic view of today’s Bauls, that labels the entertaining performer as a corrupted ally of show business, the priority of gānsādhanā (singing as a practice for self-realization) may be interpreted as an efficient way to conceal heterodox esoteric rituals vis-à-vis the increasing interest of cultural tourists in Baul culture and performances, protecting the secrecy of the tradition through an innovative and negotiated version of sandhyā-bhāṣā (twilight-language), the literary device that has accompanied Bengali esoteric songs since their origins.
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Mukherjee, Dhrubaa. "Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict." Studies in South Asian Film & Media 12, no. 1 (February 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 capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below. The vulgar representation of time as a precise and homogeneous continuum has […] diluted the Marxist concept of history. (Giorgio Agamben) The history of all hitherto existing society is the history of class struggles. (Karl Marx)
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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 (May 25, 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 seek to inculcate certain values and norms of behaviour by repetition," (Hobsbawm 1983) is how Hobsbawm describes tradition. Fakir Lalon Shah was a notable philosopher, poet, and musician born in Bengal and flourished during the 19th century in what is now Bangladesh. He was known as Fakir Lalon Shah. The Baul tradition, a syncretic form of devotional music that integrates aspects of Sufi Islam, Hinduism, Buddhism, and indigenous folk beliefs, was started by him. He is known as the originator of the Baul tradition. Lalon Shah founded the Baul tradition and broke radically with his era's prevalent cultural and religious standards when he established it. He was not a follower of traditional organized religions because he considered them limiting and dogmatic. Instead, he emphasized individual spirituality and the quest for the truth inside.
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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 (July 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 the literary resistance to Neocolonial forces. Nachiketa is one of the few Kolkata-centric artists whose late post-90s modern Bengali songs have won the hearts of both West Bengal and Bangladeshi people. What is less noticeable during these three decades is that Nachiketa has a strong presence through vocal and melody, where his rebellious voice has not failed to criticize the government, political, religious, financial, or cultural institutions that indirectly represent Neocolonial ideologies like Capitalism, Globalization, and Cultural Imperialism. This article is going to excavate how Nachiketa has criticized different layers of malpractices prevailing in the diversified aspects of day to day life through his best known, surprisingly turbulent anti-imperial lyrical creations.
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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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Dissertations / Theses on the topic "Bengali Songs"

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Mukharji, Manjita. "Reading the metaphors in Baul songs : some reflections on the social history of rural colonial Bengal." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28763/.

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This thesis breaks with existing scholarship on the Bauls by moving away from an exclusive interrogation of their esoteric beliefs and practices. Instead, we forestage the socio-historical dimensions of metaphors found in Baul songs. Rather than using these metaphors as keys to unlock the esoteric registers of Baul praxis, we see how the metaphors themselves are drawn from and mediated by the Baul singer-composers' locations in history and society. In the Introduction of the thesis, we sensitise the reader to the history and politics of the particular frames used by song-collectors through which the songs-our primary material-have become available to us. Thereafter, we develop our enquiry through five specific case-studies. In each case-study, i.e. those of gender, agrarian relations, domestic space, transportation and spatiality, we look at clusters of metaphors around each of these themes and see how the metaphors themselves reveal clues to both the specificities of the Baul singer-composers' socio-historical locations and their experiences of these locations. Throughout these studies we remain interested in how Baul singer-composers as members of a larger rural society resist and/or negotiate with the structures of domination. In conclusion, we argue that not only is their resistance intimately tied up with their specific socio-historical experiences-which they often also share with non-Baul contemporaries-but also that both their experiences and their modes of resistance are themselves shifting and historically contingent. Thus, just as we find several shifting layers in their resistance to structures of power, similarly we find multiple shifting locations for their experiential body.
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La, Trobe Jyoshna. "Red earth song : Marai Kirtan of Rarh : devotional singing and the performance of ecstasy in the Purulia District of Bengal, India." Thesis, SOAS, University of London, 2010. http://eprints.soas.ac.uk/29278/.

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Kirtan is devotional hymn singing, music and dance in praise of a deity usually performed by a group of devotees, as well as a literary tradition. Marai kirtan is a style of kirtan found in the rural area of West Bengal known as Rarh, particularly in the Purulia District (Manbhum) where the tradition exists in its most potent form of expression. It is performed inside the local temples by a variety of village based kirtan groups that are both egalitarian and competitive in nature. In Purulia, the term marai meaning "circular", but the inner meaning is "to grind", for "if you grind Hari nam, the name of god, like sugar cane in your heart, then it will also melt for god" (JM, 2006: Pers.comm.). Marai kirtan is considered the best way of worshipping god, of creating musical intensity and arousing devotion for god. It also has various utilitarian purposes such as the bringing of rain and auspiciousness to the village as well as a means of social protest. My research reveals that marai kirtan has a very distinctive performance structure consisting of various musical sections that generate musical/devotional intensity to reach a climax (katan matan). Elaborate melodic lines and complex rhythmic compositions are interwoven with improvisations and dance choreographies that produce ecstatic heights for prolonged periods with the use of only two words, Hari Bolo, highlighting the inherent creative musical dynamism within the marai kirtan performance. My methodology consists of ethnographic investigation built upon observation and interviews in the field, incorporating Rarhi terms and meanings, combined with an analysis of performances through a study of audio/visual recordings made on location. Due to the paucity of documentation on marai kirtan and lack of relevant literary material, my investigation concentrates on the collection of data at its source and a phenomenological perspective of the tradition. I have examined six different kirtan groups: the Brahmans, Mahatos, Rajwar, Karandhi villagers and the Vaisnavas with particular focus on the Mahato group from Kostuka village, whose lives have been transformed by marai kirtan.
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Books on the topic "Bengali Songs"

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KUMAR, KISHORE. Bengali film songs. Calcutta: Gramophone Company of India, 1988.

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MITRA, Shyamal. Bengali film songs. Calcutta: Gramophone Company of India, 1986.

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Sāhā, Apūrbba. Mānnā De'ra gāna o svaralipi. Rānāghāṭa, Nadīẏā: Apūrbba Sāhā, 2006.

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Gosvāmī, Karuṇāmaẏa. Aspects of Nazrul songs. Dhaka: Nazrul Institute, 1990.

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Bandyopādhyāẏa, Pulaka. Āmāra priẏa gāna. Kalikātā: Ema. Si. Sarakāra ayāṇḍa Sansa, 1995.

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Śāh, Ābdura Rakība. Āśika dioẏānā. Ḍhākā: Banabīthi Prakāśanī, 1995.

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Baṛuẏā, Phaṇī. Kabiẏāla Phaṇī Baṛuẏā, jībana o racnā. Ḍhākā: Baṃlā Ekāḍemī, 1997.

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Islam, Nazrul. Najarulera Hārāno gānera khātā. Ḍhākā: Najarula Insaṭiṭiuṭa, 1997.

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Kāmāla, Ābu Henā Mostaphā. Āmi sāgarera nīla. Ḍhākā: Bāṃlādeśa Śilpakalā Ekāḍemī, 1995.

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Sāttāra, Ābadus. Najarula-saṅgīta abhidhāna. Ḍhākā: Najarula Insaṭiṭiuṭa, 1993.

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Book chapters on the topic "Bengali Songs"

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Nath, Devjyoti, and Shanta Phani. "Mood Analysis of Bengali Songs Using Deep Neural Networks." In Information and Communication Technology for Competitive Strategies (ICTCS 2020), 1103–13. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0882-7_100.

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Bhattacharya, Srutayu. "Tracing the Notion of the “National”/“Patriotic” through Bengali and Hindi Songs." In Engaging with a Nation, 112–20. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003504504-11.

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Ontika, Nazmun Nisat, Md Fasihul Kabir, Ashraful Islam, Eshtiak Ahmed, and Mohammad Nurul Huda. "A Computational Approach to Author Identification from Bengali Song Lyrics." In Proceedings of International Joint Conference on Computational Intelligence, 359–69. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7564-4_31.

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Malhotra, Meenakshi. "Conceptualising the Girl Child in 18th- and 19th-Century Bengal through Aagomoni Songs." In Making the 'Woman', 185–200. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781032640532-16.

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Sinha, Atreyee, and Faujdar Ram. "Understanding the Preference to Have More Sons among Hindu and Muslim Women: A Case Study from North Dinajpur District of West Bengal." In Population Dynamics in Eastern India and Bangladesh, 227–39. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3045-6_13.

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McDermott, Rachel Fell. "Bengali Songs to Kālī." In Religions of India in Practice, 55–76. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131btwn.8.

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McDermott, Rachel Fell. "Muslim Devotional Singing in Two Bengals." In Islamic Ecumene, 225–37. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501772382.003.0018.

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This chapter focuses on Muslim devotional singing. It discusses the history of the songs in Bengali on patriotism, love, nature, and Hindu devotionalism before considering the surprising aftereffects of Kazi Nazrul Islam's newly created genre. As a genre, the lyrics brought a Bengali sensibility and intimacy to Islamic themes. The chapter looks into the Hindu and Hindu-connoting elements within Nazrul's songs before considering why most people did not realize them as such. It cites that Bengali Hindus have been singing love songs to their deities since the twelfth century, but because of the dubious status of music in Islamic contexts, such songs came very late to Bengali Muslims.
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"1. Bengali Songs to Kālī." In Religions of Asia in Practice, 51–72. Princeton University Press, 2002. http://dx.doi.org/10.1515/9780691188140-004.

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McDermott, Rachel Fell. "1. Bengali Songs to Kālī." In Religions of India in Practice, 55–76. Princeton University Press, 1995. http://dx.doi.org/10.1515/9780691216263-006.

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Kværne, Per. "Buddhist Surrealists in Bengal." In Songs on the Road: Wandering Religious Poets in India, Tibet, and Japan, 113–26. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbi.f.

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Towards the end of the first millennium CE, Buddhism in Bengal was dominated by the Tantric movement, characterized by an external/physical as well as internal/meditational yoga, believed to lead to spiritual enlightenment and liberation from the round of birth and death. This technique and its underlying philosophy were expressed in the Caryāgīti, a collection of short songs in Old Bengali composed by a category of poets and practitioners of yoga, some of whom apparently had a peripatetic lifestyle. One of the peculiarities of Old Bengali is the presence of a large number of homonyms, permitting play on ambiguous images. This, it is argued in the first part of the chapter, is the key to understanding many songs that are seemingly meaningless or nonsensical, or that could be superficially taken to be simply descriptions of everyday life in the countryside of Bengal. By means of their very form, the songs convey the idea of the identity of the secular and the spiritual, of time and eternity. The second part of the chapter makes a leap in time, space, and culture, by suggesting a resonance for the Caryāgīti in the Surrealist Movement of Western art.
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Conference papers on the topic "Bengali Songs"

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Nath, Devjyoti, Anirban Roy, Sumitra Kumari Shaw, Amlan Ghorai, and Shanta Phani. "Textual Lyrics Based Emotion Analysis of Bengali Songs." In 2020 International Conference on Data Mining Workshops (ICDMW). IEEE, 2020. http://dx.doi.org/10.1109/icdmw51313.2020.00015.

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Hasan Jibon, Md Mehedi, Dewan Mahinur Alam, and Mohammad Shahidur Rahman. "BanglaBeats: A Comprehensive Dataset of Bengali Songs for Music Genre Classification Tasks." In 2023 26th International Conference on Computer and Information Technology (ICCIT). IEEE, 2023. http://dx.doi.org/10.1109/iccit60459.2023.10441288.

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Khan, Niaz Ashraf, and Md Ferdous Bin Hafiz. "Analyzing Music Genre Classification in Bengali Songs: A Comparative Study with the Marsyas Dataset Using Advanced Audio Feature Extraction Techniques." In 2024 International Conference on Advances in Computing, Communication, Electrical, and Smart Systems (iCACCESS). IEEE, 2024. http://dx.doi.org/10.1109/icaccess61735.2024.10499514.

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