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FOLK SONGS
The main varieties of
folk songs may be classified into three groups-Baul, Bhatiali, and Sari. Baul songs are compositions
of the Bauls - wandering minstrels of the Sahajiya sect who seek by their own special way of
spiritual quest to discover God. They are usually un lettered but deeply wise in their mystic philosophy
and compose songs in their moments of inspiration and dance as they sing, oblivious of their surroundings
in their ecstasy. The melodic structure of the songs are simple and shows the basic models in the major
and minor scales and the tempo is quick and tripping. Bhatiali is a song of the river side and broad fields,
drawing out in long, slow measure and with a melancholy content generally a contemplative yearning for a
beloved. Sari is essentially the boatmen's song, rendered with verve to the accompaniment of vigorous
rhythmic strokes of the oar as the boat glides on the river and is usually sung in chorus. The melodic
structure of both types are simple.
TAGORE TRADITION
Song compositions of Rabindranatha Tagore has the most extensive adaptation
of the all the styles, Hindustani classical as well as indigenous and European
and a personal styles assimilating and synthesising all extant styles.
Subject-wise his songs, nearly 2,500 in number fall into five broad categories
namely 1)songs of devotion. 2) songs of love 3) songs of nature 4) patriotic songs
and 5) miscellaneous songs. Most of his songs are dhrupadic in structure, being
composed in four stanzas and are to be sung according to the notation set.
Dhrupad and Baul styles predominate in Tagore's devotional songs while his
other songs make liberal use of the Tappa style in a modified form omitting the
feature of improvisations. Many of his patriotic songs are composed in Baul
style. For example, the song 'Amar Sonar Bangla' which has been adopted by
Bangladesh as its national song and others, like 'Janaganamana-adhinayaka', India's
national song are Dhrupad based and combine the feature of choral singing. It is
in his songs of nature that Tagore comes out in the fullness of his genius as a
composer. He employs classical ragas, combines them felicitously to fully unfold
the nuances of the lyric and introduces a happy synthesis of folk tunes and
ragas in a variety of appropriate time measures. In his songs of spring, Tagore
has created a naturalistic myth of recurrence of life, most of such lyrics are
for song and dance.
OTHER COMPOSERS
Dwijendralal Ray is a dramatist, poet and composer who composed many
exquisite love songs and rousing patriotic songs and adapted the European
practice of Choral singing. The tide of innovations and experiments in musical
styles brought Atulprasad Sen who composed songs of love, piety and patriotism
and popularised the Lucknow style of Thumri in Bengali song. A younger composer,
Kazi Nazrul Islam, introduced the Ghazal form in Bengali song with his memorable
love songs and also virile marching songs with his revolutionary lyrics. Bold
innovations have continued to be made by a number of music composers in the form
and style of Bengali song and folk songs of different regions of Bengal came to
the presented in pure and adapted forms. These activities developed in the 1940's
into the "modern" style of Bengali song-a bewildering medley attempts
of fusion of classical, folk, western pop and beat styles.
Musical Instruments
In instrumental music Bengal has produced great masters in the Sitar, the
Sarod and the Esray. The great teacher, late Ustad Alauddin Khan has
developed the art of the flute into the first rank for the exposition of
classical music. The' modern' style has pressed into service the guitar, the
violin cello and other musical gadgets of western origin. The portable box
harmonium, which evolved in Calcutta about eight decades back is ubiquitous despite
the frowns of orthodox classicists. For concert music the violin, the clarinets
and the cornet are extensively used. Some
itinerant rural singers also use
the fiddle for accompaniment. The Bauls use the ektara and the dotara, bayan
(percussion) and ankle-bells. The wealthy traditionally call for naabat
consisting of the sehnai and nakkara (percussion) for auspicious
ceremonies. In
major public celebration like the Durga Puja the instruments of choice are the
Jaidhak (major Indian drum) and the Kansi (brass gong) played in a variety of rhythmus
and time measures. The khol and cymbals are the invariable accompaniment
for Kirtan music.
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