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Relevant bibliographies by topics / Hindi Songs

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Journal articles

Academic literature on the topic 'Hindi Songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Hindi Songs"

1

Viswamohan, Aysha Iqbal. "English in film songs from India: an overview." English Today 27, no. 3 (2011): 21–24. http://dx.doi.org/10.1017/s0266078411000332.

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‘C-a-t, cat. Cat mane billi; r-a-t, rat mane chooha’ went a song from a Hindi film of the fifties (mane = ‘means’, billi = ‘cat’, chooha = ‘rat’). The song, enormously popular with Indian youth of that generation, was scoffed at by the then contemporary purists who found it hard to accept such ‘blatant’ dilution of the Hindi language. This song, like a few more of its times, was merely an exception to the largely acceptable language of songs, then largely a mix of Hindi, Urdu and Persian. English was, thus, used in songs either when it depicted (literally, since songs are acted out as autonomo

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2

Morcom, Anna. "Performance, performativity and melodrama as dramatic substance in Hindi film song sequences." Studies in South Asian Film & Media 10, no. 2 (2019): 129–47. http://dx.doi.org/10.1386/safm_00010_1.

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Abstract In this article, I explore the dramatic substance of Hindi film songs through an approach based in performance studies, which presents performance as the very stuff of social life, social identities and social power. Given this, the enactment of song sequences in the Hindi film narrative cannot be dramatically benign, or just excess, or just pleasure (however intense). I describe how song sequences perform and thereby manifest and reify love and romance in the film narrative. Using work on public spectacle and power by Foucault and the public sphere by Vasudevan, I further analyse how

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3

Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs." Popular Music 19, no. 2 (2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.

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IntroductionThe commercial Hindi language cinema is among the largest and oldest music film traditions on the planet. One of the most widely remarked and inflexible conventions of this highly stylised popular film genre is the regular appearance of song and dance scenes in almost every commercial Hindi film. A huge body of over 40,000 film songs (filmī gīt, as they are known in Hindi) has grown along with the thousands of Hindi sound films produced since 1931; unlike the more recent development of music video in the west, Hindi film songs have been intimately connected with larger narrative tr

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4

Young, Katie. "Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana." Ethnomusicology 66, no. 2 (2022): 264–89. http://dx.doi.org/10.5406/21567417.66.2.05.

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Abstract Beginning in the 1950s, Dagbamba and Hausa women in Tamale listened to Hindi film songs in their homes, via gramophone records and through state-run women's radio programs. Hindi film songs were soon integrated into existing domestic singing practices, including songs meant for domestic labor (tuma-yila) and childcare (biyola-yila). Through an analysis of oral history interviews as well as recorded performances of Hindi film songs sung by women, men, and youth in Tamale, I show how everyday performances of Hindi film songs reveal gendered and intergenerational experiences of domestic

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5

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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6

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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7

Arora, V. N. "Popular Songs in Hindi Films." Journal of Popular Culture 20, no. 2 (1986): 143–66. http://dx.doi.org/10.1111/j.0022-3840.1986.2002_143.x.

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8

Kaur, Ravneet. "Framing the Body and the Body of Frame: Item songs in popular Hindi cinema." Acta Orientalia Vilnensia 12, no. 2 (2011): 101–24. http://dx.doi.org/10.15388/aov.2011.1.3929.

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University of DelhiThe basic framework of this paper is to deliberate upon the emergence of item songs as a reinstatement of the dominance of the ‘song and dance sequences’ in popular Hindi cinema, and its inferences as a sub-text in contemporary cultural forms. While doing so, the paper argues that the transition in consumption and the circulation/distribution of Hindi film songs, and other visual/ audio media has affectively facilitated the course. In the given context, the paper further attempts to address shifts in the filmic techniques that have consistently regulated the production of su

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9

Shope, Bradley. "Hindi Film Songs and the Cinema." Ethnomusicology Forum 20, no. 2 (2011): 271–73. http://dx.doi.org/10.1080/17411912.2011.589505.

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10

Mukherjee, Madhuja. "Hindi film songs and the cinema." South Asian Popular Culture 9, no. 2 (2011): 223–25. http://dx.doi.org/10.1080/14746689.2011.569077.

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