Relevant bibliographies by topics / Folk songs, Hindi

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Academic literature on the topic 'Folk songs, Hindi'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Folk songs, Hindi"

1

Gurjar, Chatar Singh. "Carrier castes of folk songs and commercial songs." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 7 (July 31, 2022): 31–34. http://dx.doi.org/10.53573/rhimrj.2022.v09i07.008.

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There are some castes in Rajasthan who make their living by singing folk songs. These professional singers get neg in return by singing occasion-specific songs at specific host castes. Dhadhi, Dholi, Manganiyar, Langa etc. are prominent among professional singer castes. These singers mainly sing more love based songs. The beautiful combination of song and music is mesmerizing. The main feature of these songs is the poignant portrayal of love in ragas like Mand, Sorath, Maru, etc. Abstract in Hindi Language: राजस्थान में कुछ ऐसी जातियाँ हैं, जो लोकगीत गाकर अपना गुजर-बसर करती हैं। ये पेशेवर गायक विशिष्ट यजमान जातियों के यहां अवसरानुकूल गीत गाकर बदले में नेग प्राप्त करते हैं पेशेवर गायक जातियों में ढाढी, ढोली, मांगणियार, लंगा आदि प्रमुख हैं। ये गायक मुख्य रूप से प्रेमाख्यान मूलक गीत अधिक गाते हैं। गीत और संगीत का सुन्दर संयोग मनमोहक होता है। मांड, सोरठ, मारु, आदि रागों में प्रेम की विहृलता का मार्मिक चित्रण इन गीतों की प्रमुख विशेषता है। Keywords: लोकगीत, लोक देवता, बगड़ावत, देवनारायण, महागाथा, व्यावसायिक गीत।
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2

Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (May 1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.

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The ubiquitous songs in India's commercial feature films play a dual role in Indian society: they serve as both film songs and pop songs for India's 800 million people. India is the largest film-producing country in the world and one fifth of its current annual production of approximately 750 films is made in Hindi, each film having an average of five to six songs (Dharap 1985). As the major form of mass entertainment available on a national scale, rivalled only by the government-run television network, Hindi cinema plays a prominent and influential role in Indian society. Yet its songs, which represent India's most popular music in the twentieth century, are relatively little known to non-Indians, either to scholars or to the general public. Musicologists and anthropologists have for the most part focused their attention on Indian classical and folk traditions to the neglect of film song. To counteract this imbalance I propose here to examine one important aspect of Hindi film song – its peculiarly eclectic nature – which plays a major role in the nationwide appeal of this popular music. I look at some of the ways in which these film songs are eclectic and possible reasons why they are so. Such a study provides insights into the role of this popular music in Indian society and culture and can thereby contribute to an understanding of the role of popular music generally in non-Western and developing countries.
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3

GUPTA, CHARU. "‘Innocent’ Victims/‘Guilty’ Migrants: Hindi public sphere, caste and indentured women in colonial North India." Modern Asian Studies 49, no. 5 (August 4, 2015): 1674. http://dx.doi.org/10.1017/s0026749x15000153.

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In this article footnote 70 on page 20 should include the following: ‘Quoted in Ashutosh Kumar, “Anti-Indenture Bhojpuri Folk Songs and Poems from North India”, Man in India, 93 (4), 2013, p. 512 [509–19].’On the same page, after the line ‘The victimized woman was glorified and acquired subjecthood only when she emulated the virtues and ideals of upper-caste Indian womanhood and wifely devotion, thereby overcoming the perceived stereotypes of Dalit woman’ the following footnote should have appeared: ‘Kumar, “Anti-Indenture Bhojpuri Folk Songs”, p. 513’.The author regrets the error.
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4

Gurjar, Chatar Singh. "Socio-cultural consciousness in folk songs of Dausa district." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 11 (November 12, 2022): 54–61. http://dx.doi.org/10.31305/rrijm.2022.v07.i11.010.

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The folk songs sung in the rural areas are meant for the entertainment of the people as well as for awakening the social consciousness. The artists of these songs infuse a new zeal and positive energy in the rural masses. Through these songs, singers work to remove backwardness as well as create awareness in the society. There are many such songs which, along with following various traditions, have a direct impact on the living and lifestyle of the people. Along with imparting knowledge of folk songs, stories, Vedas and Puranas, they also teach the lesson of mutual love and patriotism. Along with performing various rites, these folk songs also serve as humor. In modern times, light communicates to a person suffering from mental stress and frustration. Abstract in Hindi Lanaguge: ग्रामीण क्षेत्र में गाये जाने वाले लोकगीत-लोगों के मनोरंजन के साथ-साथ समाज चेतना जगाने वाले गीत होते है। इन गीतों के कलाकार ग्रामीण जनता में एक नई उमंग व सकारात्मक ऊर्जा का संचार करते हैं। गायक इन गीतों के माध्यम से पिछड़ेपन को दूर करने के साथ-साथ समाज में जाग्रती का काम करते हैं। कितने ही ऐेसे गीत हैं जो विभिन्न परम्पराओं को निभाने के साथ-साथ लोगों के रहन-सहन व जीवन शैली पर सीधा प्रभाव डालते हैं। ये लोकगीत-कथाओं, कहानियेां, वेद पुराणों का ज्ञान करवाने के साथ-साथ आपसी प्रेम और देश-प्रेम का पाठ भी पढाते है। विभिन्न संस्कारों को निभाने के साथ-साथ ये लोकगीत हास-परिहास का भी काम करते हैं। आधुनिक समय मे ंमानसिक तनाव व कुण्ठा से ग्रस्त व्यक्ति में प्रकाश का संचार करते हैं। Keywords: लोकगीत, संस्कृति, दंगली नाट्य, ख्याल, संस्कार, गणगौर।
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5

Konch, Hemanta. "Nominal Inflection of the Tutsa Language." International Journal of Innovative Technology and Exploring Engineering 10, no. 4 (February 28, 2021): 138–40. http://dx.doi.org/10.35940/ijitee.d8428.0210421.

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North-East is a hub of many ethnic languages. This region constitutes with eight major districts; like-Assam, Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura, Meghalaya and Sikkim. Tutsa is a minor tribe of Arunachal Pradesh. The Tutsa was migrated from the place ‘RangkhanSanchik’ of the South-East Asia through ‘Hakmen-Haksan’ way to Arunachal Pradesh. The Tutsa community is mainly inhabited in Tirap district and southern part of Changlang district and a few people are co-exists in Tinsukia district of Assam. The Tutsa language belongs to the Naga group of Sino-Tibetan language family. According to the Report of UNESCO, the Tutsa language is in endangered level and it included in the EGIDS Level 6B. The language has no written literature; songs, folk tales, stories are found in a colloquial form. They use Roman Script. Due to the influence of other languages it causes lack of sincerity for the use of their languages in a united form. Now-a-days the new generation is attracted for using English, Hindi and Assamese language. No study is found till now in a scientific way about the language. So, in this prospect the topic Nominal Inflection of the Tutsa Language has been selected for study. It will help to preserve the language and also help in making of dictionary, Grammar and language guide book.
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6

Deka, Dipanjali. "READING RESEMBLANCES AND FLUIDITY BETWEEN THE ZIKIR SONGS OF AZAN FAKIR AND OTHER SONG GENRES IN ASSAM." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (August 10, 2022): 152–59. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.155.

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Zikir songs of Assam are the Assamese Islamic devotional songs composed by the Sufi figure Shah Miran, alias, Azan Peer Fakir, who came to Assam from Baghdad in 17th century. Assamese scholars categorize zikir under the folk Bhakti or Sufi genre. According to Syed Abdul Malik, a pioneer writer on the subject, the word zikir is said to have been derived from the Arabic term ziqr, which means to remember, listen to and to mention the name of Allah. Interestingly, the concept of remembrance of the Divine, like in zikir, also resonates with the Neo-Vaisnavite Bhakti philosophy of Sankardeva and Madhavdeva of 15th century Assam. There exist philosophical and lyrical resemblances not only between zikir and borgeet (Vaishnavite prayer songs), but also between zikir songs and lokageet, and dehbichar geet. Musically, there are resemblances of rhythmic patterns and melodic phrases, which reflect a fluid exchange amongst zikir and other folk genres.This essay is a musicological exploration and lyrical study of some examples showing these philosophical resonances and musical fluidities. In doing so, the article highlights the synthesis of the merging of the Hindu and Islamic philosophies, lyrical and musical aesthetics, in and through the songs of zikir by Azan Fakir.
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7

Cartwright, Keith. "Tar-Baby, Terrapin, and Trojan Horse— A Face-the-Music Cosmo Song from the University's Hind Tit." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 174–78. http://dx.doi.org/10.1632/pmla.2016.131.1.174.

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What do you do when you come to know that you're stuck to the intractable stuff of other folks' and other times' making, stuck more deeply the more you rail against it for not answering to your hailing? What do you do when you're busted to pieces and can't pull it all together with the hum of a song? What do you do when you find yourself outside a structure that won't let you (or your loves) inside its towered walls and gated communities? What follow are prescriptions divined from fabulous tales of tar babies, terrapins, and supersized machine-horses. Southern myth-science. To borrow from others in this collection: hum/animal songs from outer space(s).
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8

Isaki, Fatmire, and Hyreme Gurra. "THE MOTIF OF RECOGNITION IN ENGLISH AND THE ALBANIAN BALLADS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2345–48. http://dx.doi.org/10.35120/kij28072345f.

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Difficult war times and painful family events made people segregate. These events made folk singers create songs where they narrated how people recognized each other after a long time being far away from one another. This time period was known as a very dramatic process fulfilled with strong feelings. Different scops and bards created emotional songs with the motif of recognition between husband and wife (that will be explained with examples from Hind Horn and Aga Ymeri), between brother and sister (that will be explained with examples from Bonnie Farday and Gjon Petrika), and rarely between brother and brother. The aim of this paper is to make a comparative analysis with special emphasis on intersections and the dissimilar points of the English ballads and the Albanian ones which treat the motif of recognition. Since this papers goal is the comparative approach between ballads of two different literatures of different nations, our methods of analysis will be the narrative method and the comparative method. The narrative method will be used to point out the motif of recognition in each ballad particularly, while the comparative method will be used to make the comparison between ballads Hind Horn and Aga Ymeri where husband and wife recognize each other by a special sign as symbol of their true love, and between ballads Bonny Farday or Babylon and Gjon Petrika where with the help of a mark the identification of brother and sister occurs.
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9

Isaki, Fatmire, and Hyreme Gurra. "THE MOTIF OF RECOGNITION IN ENGLISH AND THE ALBANIAN BALLADS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2345–48. http://dx.doi.org/10.35120/kij29082345f.

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Difficult war times and painful family events made people segregate. These events made folk singers create songs where they narrated how people recognized each other after a long time being far away from one another. This time period was known as a very dramatic process fulfilled with strong feelings. Different scops and bards created emotional songs with the motif of recognition between husband and wife (that will be explained with examples from Hind Horn and Aga Ymeri), between brother and sister (that will be explained with examples from Bonnie Farday and Gjon Petrika), and rarely between brother and brother. The aim of this paper is to make a comparative analysis with special emphasis on intersections and the dissimilar points of the English ballads and the Albanian ones which treat the motif of recognition. Since this papers goal is the comparative approach between ballads of two different literatures of different nations, our methods of analysis will be the narrative method and the comparative method. The narrative method will be used to point out the motif of recognition in each ballad particularly, while the comparative method will be used to make the comparison between ballads Hind Horn and Aga Ymeri where husband and wife recognize each other by a special sign as symbol of their true love, and between ballads Bonny Farday or Babylon and Gjon Petrika where with the help of a mark the identification of brother and sister occurs.
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10

Pechilis, Karen. "Songs of the Saints of India. John Stratton Hawley , Mark JuergensmeyerStorytellers, Saints, and Scoundrels: Folk Narrative in Hindu Religious Teaching. Kirin Narayan." Journal of Religion 71, no. 4 (October 1991): 616. http://dx.doi.org/10.1086/488755.

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Books on the topic "Folk songs, Hindi"

1

Ajeya, Satyavrata Śarmā. Hindī lāvanī sāhitya, udbhava aura vikāsa. Pānīpata: Ādityaprakāśa Ārya, 1996.

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Hindī lokagītoṃ kā saṃskr̥tika adhyayana. Kānapura: Candraloka Prakāśana, 2007.

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Saksenā, Rāma Prakāśa. Madhya Bhārata ke lokagāthā gīta. Naī Dillī: Prakāśana Vibhāga, Sūcanā aura Prasāraṇa Mantrālaya, Bhārata Sarakāra, 1994.

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Satyarthi, Devendra. Dharatī gātī hai. Naī Dillī: Pravīṇa Prakāśana, 1994.

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Satyarthi, Devendra. Dharatī gātī hai. Naī Dillī: Pravīṇa Prakāśana, 1994.

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Siṃha, Raṇajit̲. Bastāra araṇyera sura. Kalakātā: Pratikshaṇa Pābalikeśanas, 1995.

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Śarmā, Jagadīśa Nārāyaṇa Bholānātha. Hariyāṇā Pradeśa ke lokagītoṃ kā sāmājika paksha. Caṇḍigaṛha: Hariyāṇā Sāhitya Akādamī, 1989.

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Siṃha, Raṇajit̲. Bastāra araṇyera sura. Kalakātā: Pratikshaṇa Pābalikeśanas, 1995.

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Dhanakara, Rītā. Hariyāṇā kā loka saṅgīta. Naī Dillī: Rādhā Pablikeśansa, 1997.

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Sāṅgavāna, Guṇapālasiṃha. Harayāṇavī lokagītoṃ kā sāṃskr̥tika adhyayana. Caṇḍīgaṛha: Hariyāṇā Sāhitya Akādamī, 1989.

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Book chapters on the topic "Folk songs, Hindi"

1

Dube, Reena. "Postmodern Cinema of Seduction." In Seduction in Popular Culture, Psychology, and Philosophy, 130–63. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0525-9.ch007.

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If there is one phrase that has been used most often by Western audiences for popular Indian cinema, it is the phrase “musicals.” The description gestures both at the fixation of Indian cinema on an earlier stage of cinematic evolution and the simple and uncomplicated pleasure derived by the audience from popular Hindi films that have an audience all over the world. This essay examines Hindi film “song and dance” spectacles as the art of deferment in the postmodern cinema of seduction, a notion derived from the work of Jean Baudrillard and the insights of Freud-Lacan-Zizek and Baudrillard himself on deferral and seduction. This chapter makes this claim not as an overarching theoretical nomenclature for all song and dance sequences in Hindi films. Instead the author argues for the primacy of the art of deferment and play in a postmodern cinema of seduction within the limited scope of her reading of a North Indian subaltern/folk-inspired song and dance Hindi film, Amol Palekar and Sandhya Gokhale directed Paheli (Riddle, 2005).
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Chakrabarti, Gautam. ""In-Between" Religiosity: European Kāli-bhakti in Early Colonial Calcutta." In Translocal Lives and Religion: Connections between Asia and Europe in the Late Modern World, 35–55. Equinox Publishing, 2021. http://dx.doi.org/10.1558/equinox.31740.

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One of the most engaging socio-cultural traits in late 18th- and early 19th-century India was the disarmingly engaged and comparativist manner in which European travellers responded to the multi-layered and deeply syncretic field of devotional spirituality in eastern India. The predominantly-śākta orientation of early modern Bengali configurations of religious devotion led, especially in the vicinity of the rather-heterodox city of Calcutta, to the familiarization of European migrants to the Goddess Kālī, Herself representing a certain subaltern, tāntrika aspect of Hindu devotional practices. Antony Firingi, (Æntōnī Phiringī) originally Hensman Anthony (?‒1836), was a folk-poet/bard, who, despite being of Portuguese origin, was married to a Hindu Brahmin widow and well-known throughout Bengal for his celebrated Bengali devotional songs addressed to the Goddesses Kālī and Durgā, towards the beginning of the 19th century. He was also celebrated for his performance in literary contests known as kabigān (bardic duels) with the then elite of Bengali composers. His āgamani songs, celebrating the return of Goddess Durgā to her parental home are immensely-popular till today and he was associated with a temple to Goddess Kālī in the Bowbazar-area of North Calcutta that is nowadays famous as the Phiringī Kālibāri (foreigner’s Kālī temple). In this essay, the literary-cultural construction of a religious hybridity, operating between and cross-fertilizing Indo-European cultural conjunctions, is examined through the study of individual, “in-between” religious agency, in this case of Hensman Anthony, who comes across as a figure representing the condition of the transcultural subaltern.
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