Relevant bibliographies by topics / Urdu Songs

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Academic literature on the topic 'Urdu Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 February 2023

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Journal articles on the topic "Urdu Songs"

1

Bushra Zaidi, Syeda. "Gender Roles in Pakistani-Urdu Wedding Song." JEELS (Journal of English Education and Linguistics Studies) 3, no. 1 (May 11, 2022): 1–27. http://dx.doi.org/10.30762/jeels.v3i1.33.

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This qualitative study of Pakistani-Urdu wedding songs allows a closer look at the gender situation, and towards the understanding of the process of construction and perpetuation of gender-based stereotypes. However, the major concern of this study is to understand the portrayal of each gender along with the question that does such portrayal underlines the traditional gender roles and gender inequality. Taking a discourse analysis perspective, this study analyzes textual data from the lyrics of the seventeen wedding songs. The song selection was based on purposive sampling technique. The data were collected through transcription and recording of the audios of the songs. As a result of thematic analysis thirteen themes emerged, ten portraying the female gender and four portraying the male gender. These themes reveal important findings that support and reinforce the gender-based stereotypes and also reflect gender hierarchy, normative heterosexual relationships, kinship norms and gender subversions.
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2

Dr. Jan Nisar Moin. "A Research Review of Urdu Language." Dareecha-e-Tahqeeq 2, no. 3 (March 21, 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 late 17th century. This article presents a research overview of Urdu language.
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3

Viswamohan, Aysha Iqbal. "English in film songs from India: an overview." English Today 27, no. 3 (August 18, 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 autonomous scenes in Bollywood) a comic actor in a light-hearted situation or a semi-literate character desperate to accommodate to the urban ways of life. A celebrated song from Gopi, a Hindi film of the early seventies, goes a step forward with its novel coinage. The hero is a rustic who tries to impress his fellow villagers by dressing up in city (read English) style and sings:Gentleman gentleman, gentleman/London se aaya mein ban-than ke……Yeh dekh mera suita/Yeh dekh mera boota/Yeh dekh mera comba
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4

Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.
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Gillani, Karim. "The IsmailiGinanTradition from the Indian Subcontinent." Middle East Studies Association Bulletin 38, no. 2 (December 2004): 175–85. http://dx.doi.org/10.1017/s0026318400046940.

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Ginan bolore nit nure bharea;Evo haide tamare harakh na maeji.Recite continually theginanswhich are filled with light;Boundless will be the joy in your heart.Ginansare devotional songs rooted in the musical and poetic matrix of Indian culture. The term “ginan” carries a double significance: on the one hand, it means “religious knowledge” or “wisdom,” analogous to the Sanskrit wordjnana(knowledge). On the other hand, it means “song” or “recitation,” suggesting a link to the Arabicghannaand the Urdu/Hindighana, both verbs meaning “to sing.” For the past seven hundred years, Ismailis from the Indian subcontinent (Satpanth Khoja Ismailis) have been recitingginansas a part of their daily religious devotions at the congregational hall (Jamat Khana).
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6

WILLIAMS, RICHARD DAVID. "Songs between cities: listening to courtesans in colonial north India." Journal of the Royal Asiatic Society 27, no. 4 (September 26, 2017): 591–610. http://dx.doi.org/10.1017/s1356186317000311.

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AbstractIn the aftermath of 1857, urban spaces and cultural practices were transformed and contested. Regional royal capitals became nodes in a new colonial geography, and the earlier regimes that had built them were recast as decadent and corrupt societies. Demolitions and new infrastructures aside, this transformation was also felt at the level of manners, sexual mores, language politics, and the performing arts. This article explores this transformation with a focus on women's language, female singers and dancers, and the men who continued to value their literary and musical skills. While dancing girls and courtesans were degraded by policy-makers and vernacular journalists alike, their Urdu compositions continued to be circulated, published, and discussed. Collections of women's biographies and lyrics gesture to the importance of embodied practices in cultivating emotional positions. This cultivation was valued in late Mughal elite society, and continued to resonate for emotional communities of connoisseurs, listeners, and readers, even as they navigated the expectations and sensibilities of colonial society.
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7

Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
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8

Sorrell, Neil. "African Classical Music and the Griot Tradition by Tunde Jegede. London: Diabate Arts, 1994, 64 pp. Cassette tape: Cycle of Reckoning by Tunde Jegede. London: Diabate Arts, 1991. No price supplied. - Asian Festival Songs (Urdu). A Collection of Occasional Songs for Use throughout the Year by Mohammed Sarwar. Middlesborough: Cleveland Arts, 1994. £12.00." British Journal of Music Education 13, no. 1 (March 1996): 83–85. http://dx.doi.org/10.1017/s0265051700002990.

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9

Hussain, Tahir, and Muhamamd Yar. "U-4 Elegy in other Languages." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (August 20, 2021): 38–44. http://dx.doi.org/10.53575/u4.v5.03.38-44.

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Elegy started its journey from Arabic Language. Its first creator was Hazrat Adam (AS) at sorrowful murder of his sons Habeel. This article is about the origin and meaning of the word “Elegy”, Elegy in Urdu language its evolution and beginning. In Urdu language, Elegy started from Dakkan.Elegyhad been divided into three types which were conventional, personal and religious or KarbalaiMarsiya.But later on, it became specific for Karba. We can come across personal elegies in Urdu but whenever we mention elegy our attention goes to Karbala. Therefore, in this article Elegy has been discussed in this context. Elegy in differentlanguagesof the world like Greek, Latin, English, French, Italian etc. is also part of this article
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10

Manuel, Peter. "A Historical Survey of the Urdu Gazal-Song in India." Asian Music 20, no. 1 (1988): 93. http://dx.doi.org/10.2307/833856.

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Books on the topic "Urdu Songs"

1

Amar, Varma, ed. Gātā jāʼe banjārā: Filmī nag̲h̲me. Naʼī Dihlī: Sṭār Pablīkeshanz, 2012.

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2

Nānā saṃgraha, nānā gāna. Kalikātā: Amara Bhāratī, 1996.

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3

Pākistānī Urdū filmī gīton̲ kā safar, 1948-1970. Lāhaur: Maqṣūd Pablisharz, 2011.

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Irtabāt̤-i ḥarf o maʻnī: Bhāratī nag̲h̲māt men̲ ṣanāʼiʻ lafz̤ī o manʻnavī. Lāhaur: Fikshan Hāʼūs, 2015.

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5

Urdū māhiyā taḥqīq va tanqīd: Pānc kitāben̲. Lāhaur: al-Vaqār Pablīkeshanz, 2010.

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6

Gokhale, Āśisha. Makhamalī svaroṃ kā safara.....: Bazma-e-Talata Mahamūda. Aurangabad: Span Publication, 2014.

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G̲h̲azal gāʼīkī. Lāhaur: Sānjh, 2012.

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8

H.E.H. The Nizam's Urdu Trust (Hyderabad, India), ed. Glossary of difficult Urdu words usually found in popular ghazals, songs, qawallies, and radio programmes with meaning in Urdu and English with couplets. Hyderabad: H.E.H. The Nizam's Urdu Trust Publication, 1987.

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9

A tribute to Pakistan's greatest folk singer Tufail Niazi: Pākistān ke ʻaz̤īm lok gāʼik, T̤ufail Niyāzī ko k̲h̲irāj-i taḥsīn. Karachi: S.M. Shahid, 2016.

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10

Nasreen, Kabir, ed. Talking songs: Javed Akhtar in conversation with Nasreen Munni Kabir and sixty selected songs / by Javed Akhtar ; translated by Nasreen Munni Kabir ; foreword by Shabana Azmi. New Delhi: Oxford University Press, 2005.

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Book chapters on the topic "Urdu Songs"

1

Otterbeck, Jonas. "The Message and its Media." In The Awakening of Islamic Pop Music, 83–106. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474490429.003.0005.

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Chapter five analyses the messages of Awakening through detailed studies of the lyrics, the instrumentation and production of Awakening songs. First, it identifies four recurrent themes of the lyrics (praising Allah, Muhammad, spiritual awakening, love) and then discusses other topics addressed such as political freedom in authoritarian states. The overall impression is that lyrics are rather straight-forward and devout including little or no ambiguity. When lyrics are drawing from, for example, Urdu or Arabic they tend to relate to a much larger established poetic discourse then when written in English where an Islamic poetic language is not as established. Lyrics are carefully crafted and checked by several people to make sure the company and the artists can stand by them, especially regarding the representations of religious matters. Further, the chapter discusses instrumentation, production and sounds to try to answer what an Islamic sounding production might be. Production choices are interlaced with tastes and preferences established by the pioneers written about in chapter four, Islamic ethical debates but also by consumer culture ideals and technological developments in digital production. The chapter looks closely into the preference among some to record vocals-only, and discusses what the sound of guitars imply.
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2

"Unit 6. Sons and daughters." In A New Course in Urdu and Spoken Hindi for Learners in Britain, 47–53. Routledge, 1997. http://dx.doi.org/10.4324/9780203990117-12.

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Conference papers on the topic "Urdu Songs"

1

Van, Irina. "FOLK STORIES AND SONGS ABOUT THE BURYAT USURERS IN THE OLD MONGOLIAN SCRIPT ON THE EXAMPLE OF THE MANUSCRIPT OF DASHI BUBEEV." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.36.

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The article reveals the peculiarities of folk stories and songs about some Buryat usurers who lived in the Aginsky steppes of Zabaikalye in the second half of the 19th — first quarter of the 20th centuries, recorded by the Buryat chronicler Dashi Bubeev from the old residents of that time. A particular scientific interest lies in the fact that a previously unknown handwritten source in the old Mongolian script Brief historical notes, stories and songs about the Buryat usurers and noyons (Burayad ulus-yin urda-yin bayad noyad tuqai üge-nüüd ba daγun-uud-un tobči tedüi teüke amui) kept in the Mongolian fund of the Center of Oriental Manuscripts and xylographs of the Institute for Mongolian, Buddhist and Tibetan studies is introduced into scientific circulation for the first time. In addition to this manuscript, the Mongolian fund contains about thirty other works by the chronicler D. Bubeev. This manuscript is an original monument of Buryat literature and folklore in Old Mongolian script with elements of the genre of travelogue.
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Purba, Setia Dermawan, and Perikuten Tarigan. "Urdo-urdo: A Folk Song Containing Phylosophical and Cultural Art Values of Simalungun Ethnic Group." In International Conference of Science, Technology, Engineering, Environmental and Ramification Researches. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010084614961500.

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