Relevant bibliographies by topics / Hindu Devotional songs

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Academic literature on the topic 'Hindu Devotional songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Hindu Devotional songs"

1

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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Abeysekara, G. G. G. L. "The Position of Kabir Bhajans in North Indian Music." Journal of Research in Music 1, no. 2 (2023): 35–44. http://dx.doi.org/10.4038/jrm.v1i2.10.

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Kabirdas is a poet who lived in medieval India. He visioned to spread social purity with philosophical thinking through the poems which are termed as Nirgun bhajans. Bhajan is simply known for chanting the qualities and the physical appearance of Hindu deity/deities. The bhajans or poems composed by Kabirdas are not consisting of the latter, but they are also put under the term 'bhajan' in terms of lyrics and their musical presentation. Traditionally, bhajans refer to devotional songs that depict the qualities and physical attributes of various deities. However, Kabirdas' bhajans deviate from
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Barua, Ankur. "The Agonistic Poetics of Dāsya-bhāva: the Soteriological Confrontation Between Deity and Devotee." Journal of Dharma Studies 3, no. 1 (2019): 155–74. http://dx.doi.org/10.1007/s42240-019-00062-x.

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AbstractThe devotional literatures across the Hindu bhakti traditions of medieval India are shaped by distinctive styles of affective responses to the divine reality. A theme which recurs in several layers of their songs is a theological dialectic between divine majesty and divine accessibility; the divine is not only simply transcendent in the sense of being a distant deity but is also immanently present in and through a range of human sensitivities, emotions, and affectivities. We will highlight the dialectic in the devotional songs of three medieval figures, Tulsīdās (c. 1600), Sūrdās (c. 1
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DeNapoli, Antoinette Elizabeth. ""Write the Text Letter-by-Letter in the Heart"." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 1 (2010): 3–40. http://dx.doi.org/10.1558/post.v4i1.3.

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The performance of the Rāmāyan, a popular, medieval Hindi text composed by the Indian poet/saint Tulsidas, constitutes an important genre in the “rhetoric of renunciation” for female Hindu ascetics (sādhus) in Rajasthan. It is used by them, along with the singing of devotional songs (bhajans) and the telling of religious stories (kahānī), as integral to their daily practice of asceticism. This essay examines the performance and textual strategies by which non- and semi-literate female sādhus create themselves as “scriptural”—how they perform a relationship with the literate textual tradition o
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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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Llewellyn, J. "Saints, Hagiographers, and Religious Experience: The Case of Tukaram and Mahipati." Religions 10, no. 2 (2019): 110. http://dx.doi.org/10.3390/rel10020110.

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One of the most important developments in Hinduism in the Common Era has been the rise of devotionalism or bhakti. Though theologians and others have contributed to this development, the primary motive force behind it has been poets, who have composed songs celebrating their love for God, and sometimes lamenting their distance from Her. From early in their history, bhakti traditions have praised not only the various gods, but also the devotional poets as well. And so hagiographies have been written about the lives of those exceptional devotees. It could be argued that we find the religious exp
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Venkanah, Srutee, and Ambarin Mooznah Auleear Owodally. "Keertanam and Bhajanam: The Faith (Literacy) Practices of the Telugu Community in Plural Mauritius." Heritage Language Journal 20, no. 1 (2023): 1–35. http://dx.doi.org/10.1163/15507076-bja10015.

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Abstract The Telugu community, an ethno-religious minority community in Mauritius, uses and teaches Keertanam and Bhajanam (devotional songs in Telugu, an imagined ancestral language) as part of its faith practices. The present exploratory study, focusing on Keertanam and Bhajanam classes in one village temple, investigates the connection between faith practices, faith literacy practices, ancestral languages, and identities in that setting. Data were collected through participant observation, informal conversations with members of the community, and artifacts. The data indicate that the member
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle
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Pallathadka, Harikumar, Parag Deb Roy, and Rita Sarkar. "The Path of Divine Surrender: A Spiritual Analysis of Rabindranath Tagore's "Ami Tomar Premer Hobo Sobar Kolonkho Bhagi"." Journal for Research in Applied Sciences and Biotechnology 4, no. 2 (2025): 257–64. https://doi.org/10.55544/jrasb.4.2.26.

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This comprehensive study presents an in-depth analysis of Rabindranath Tagore's profound devotional composition "Ami Tomar Premer Hobo Sobar Kolonkho Bhagi" ("I will bear everyone's shame in your love"), exploring its multifaceted spiritual significance within the rich context of Hindu devotional traditions. Through detailed textual examination, musical analysis, and contextual interpretation, this research illuminates how the song articulates a fundamental aspect of authentic spiritual pursuit: the transformative willingness to transcend societal judgment and embrace divine love regardless of
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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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Books on the topic "Hindu Devotional songs"

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Schultz, Anna C. Singing a Hindu nation: Marathi devotional performance and nationalism. Oxford University Press, 2012.

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2

Devarasa, Ma Da. Ūttukkāṭu Veṅkaṭa Cuppaiyar aruḷiya kurukīrttanaikaḷ saptaratn̲am mar̲r̲um Āñcan̲eya pañcaratn̲am. K. Rājammāḷ, 2000.

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Rosenstein, Ludmila L. The devotional poetry of Svāmī Haridās: A study of early Braj Bhāṣā verse. Egbert Forsten, 1997.

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Annamācārya. Annamayya saṅkīrtana ratnāvaḷi: Svarasahitaṃ. Annamācārya Prājekṭu, Tirumala Tirupati Dēvasthānamulu, 2001.

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Kogaṭā, Rāma. Pita =: Father. D.K. Printworld, 2009.

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Cā, Lōccan̲ Po. Tirunāvukkaracar Tēvārap pāṭalkaḷil icai. Tamil̲p Palkalaikkal̲akam, 2001.

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Kogaṭā, Rāma. Maa =: Mām̐ = Mother. D.K. Printworld, 2009.

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1921-, Bhaktivedānta Nārāyaṇa, ред. Śrī Gauḍīya gīti-guccha: An unprecedented collection of Sanskrit, Bengali, and Hindi devotional poems, prayers, and songs written by the Gauḍīya Vaiṣṇava Ācāryas. Śrī Keśavajī Gauḍīya Maṭha, 1999.

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Kogaṭā, Lalitā, 1965- joint author, ed. Maa =: Mām̐ = Mother. D.K. Printworld, 2009.

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10

Callewaert, Winand M. Nirgurna bhakti seagara =: Devotional Hindei literature : a critical edition of the Padnc-Vearnei or five works of Deadeu, Keabir, Neamdev, Raideas, Hardeas with the Hindei songs of Gorakhneath and Sundardeas, and a complete word-index. Manohar Publications, 1991.

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Book chapters on the topic "Hindu Devotional songs"

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McDermott, Rachel Fell. "Muslim Devotional Singing in Two Bengals." In Islamic Ecumene. 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 d
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2

Gottschalk, Peter. "Institutions of Integration and Disintegration." In Beyond Hindu And Muslim. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195135145.003.0006.

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Abstract Typical of the iconoclastic songs of the Middle Period devotional poet Kabir, these lines mock certain Hindu and Islamic traditions and those who unreflectively follow them. Kabir rhetorically questions Brahmans who keep their fasts and facetiously derides Muslims who practice namaz, the basic daily prayer, for only bumping their heads on the ground. He eschews mortal gurus and Sufi pirs (spiritual teachers) for the one, authentic spiritual guide. True faith, Kabir argues, cannot be found in external places, practices, or teachers but only within the devout heart. Yet, Kabir’s portray
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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. 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.
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Martin, Nancy M. "Introduction." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0001.

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Abstract Diverse traditions of story and song surround the immensely popular sixteenth-century Hindu woman saint, Mirabai. This chapter argues that to get to know who she has been and is to so many requires exploring these multiple narratives, the immense number of songs sung in her name, and her role in the lives of divergent communities and key individuals across a wide range of social, historical, political, and religious contexts. A paucity of references to her in standard historical sources before the nineteenth century makes the search for a singular historical Mirabai impossible. Instea
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Martin, Nancy M. "Participation and Transformation." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0003.

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Abstract This chapter examines three important eighteenth- and nineteenth-century hagiographic accounts of the Hindu woman saint Mirabai’s life story, as exemplary of ways Hindu devotees engage with saints and expand the narrative traditions that surround them. The former king and Krishna devotee Nagridas joins together songs attributed to the saint, with accounts of the moment of their composition, drawing devotees into her life, as if they were there, so that they too might share the intensity of her feeling. He portrays Mirabai as renouncing her royal heritage even as he had and evincing a
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Zelliot, Eleanor. "Women Saints in Medieval Maharashtra." In Faces of the Feminine in Ancient, Medieval, and Modern India. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195122299.003.0013.

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Abstract The Bhakti movement, the spread of devotional religion in medieval India, seems to have been the most inclusive and open of all facets of Hinduism. Saint-poets of all classes and castes, women as well as men, were recorded in the song literature in Tamil, Kannada, Marathi, and Hindi especially; in Maharashtra, an extraordinary number of women sang their devotional songs in Marathi. Their householder and family situations were also extraordinary. Most women saint-poets in other areas left husbands or never married and found that their devotion could flower only if they had no household
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Martin, Nancy M. "Embodying Devotion in a Woman’s Body." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0002.

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Abstract The earliest references to the Hindu woman saint Mirabai are found in the songs of other saints and the hagiographic literature of devotional Hinduism (bhakti) during the sixteenth and seventeenth centuries in India. This chapter examines these references in the context of the life stories of other bhakti saints, highlighting both shared and distinctive elements of her life and character, with attention to gender and the specific challenges of practicing bhakti and becoming a recognized saint for women. Mira’s life story reflects in varied ways the patterns identified by A. K. Ramanuj
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Shukla-Bhatt, Neelima. "Bhakti and Its Songs: Hindu Devotion as a Gateway to Religious Harmony." In Freedom of Religion and Religious Pluralism. Brill | Nijhoff, 2023. http://dx.doi.org/10.1163/9789004504967_003.

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Martin, Nancy M. "Conclusion." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0008.

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Abstract This chapter argues that surveying the nature of the array of narratives associate with the saint Mirabai, from hagiography and oral traditions to historical, popular and scholarly accounts, makes clear that the alleged “historical biography” emerging from nationalist, rajput and orthodox Hindu sources, need not be taken as the “truth” about the saint. Instead the many circulating narrative traditions surrounding the saint reveal the multiple ways people have experienced the saint and employed her narrative to speak about many other issues from devotion to God in a woman’s body to the
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Martin, Nancy M. "Weaver Woman and Lover Extraordinaire." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0005.

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Abstract The sixteenth-century Hindu woman saint Mirabai is extremely popular among marginalized communities in India. This chapter examines two performance traditions of Mirabai circulating among nonelite communities: a khyal or Rajasthani folk drama entitled Mira Mangal (Mira’s Marriage) and an oral epic song tradition Mira Janma Patri (Mira’s Horoscope) performed by low-caste singers in Rajasthan. The saint is portrayed as down to earth, struggling with social and familial pressures, without miraculous divine aid, and her life story becomes a language to expose and resist gender expectation
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