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Relevant bibliographies by topics / Hindi Folk songs

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Journal articles

Academic literature on the topic 'Hindi Folk songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Hindi Folk songs"

1

Gurjar, Chatar Singh. "Carrier castes of folk songs and commercial songs." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 7 (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

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2

Dr. Jan Nisar Moin. "A Research Review of Urdu Language." Dareecha-e-Tahqeeq 2, no. 3 (2022): 1–70. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i3.23.

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Urdu originated in the 12th century AD from the Upabharmsha region of northwestern India, which served as a linguistic system after the Muslim conquest. His first great poet was Amir Khosrow (1253–1325), who wrote duets, folk songs, and riddles in the newly formed speech, which was then called Hindu. This mixed speech was spoken in different ways in Hindi, Hindi, Hindi, Delhi, Rekhta, Gujari, Dakshini, Urdu, Mullah, Urdu, or Urdu only. The great Urdu writers continued to call it Hindi or Hindi until the beginning of the 19th century, although there is evidence that it was called Indian in the

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3

Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (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

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4

Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, fami

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5

JALILOVA, SHIRIN. "About the category of a noun in folk song texts in Awadhi." Sharqshunoslik. Востоковедение. Oriental Studies 02, no. 02 (2022): 40–43. http://dx.doi.org/10.37547/os/vol-01issue-02-06.

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This article is devoted to the grammatical category “the noun” in the folk songs texts of the eastern dialect of hindi – avadhi. There is given the description of the etimological classification of avadhi nouns. In the same way are described the some peculiarities of the noun’s word formation and fonetic changes are shown.

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6

GUPTA, CHARU. "‘Innocent’ Victims/‘Guilty’ Migrants: Hindi public sphere, caste and indentured women in colonial North India." Modern Asian Studies 49, no. 5 (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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7

Gurjar, Chatar Singh. "Socio-cultural consciousness in folk songs of Dausa district." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 11 (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 w

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8

Konch, Hemanta. "Nominal Inflection of the Tutsa Language." International Journal of Innovative Technology and Exploring Engineering 10, no. 4 (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.

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MÜRŞÜDOVA, U. B. "AZƏRBAYCANIN OĞUZ-TÜRK VƏ ŞİMALİ AMERİKANIN HİNDU XALQ NƏĞMƏLƏRİ: MÜQAYİSƏLİ TƏHLİL." Actual Problems of study of humanities 1, no. 2024 (2024): 134–40. http://dx.doi.org/10.62021/0026-0028.2024.1.134.

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Azerbaijan Oguz-Turk and North American Hindu Folk Songs: a Comparative Analysis Summary Folk songs of Oguz-Turk and Hindu people have addressed themes that are universal to most of humanity throughout history, including love, loss, treachery, and early death. They serve as a historical account of the circumstances that existed when they were written or oral traditions that were carried down orally. Folk songs are essential to music since they provide a brief overview of the musicians' lives. Important information is also frequently passed down from generation to generation through folk tunes.

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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 (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 Ma

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