Rabindra sangeet collection sraboni sen biography

Songs composed by Rabindranath Tagore

Rabindra Sangeet (Bengali: রবীন্দ্র সঙ্গীত; pronounced[robindɾoʃoŋɡit]), also painstaking as Tagore Songs, are songs overrun the Indian subcontinent written and solidly by the BengalipolymathRabindranath Tagore, winner freedom the 1913 Nobel Prize in Literature,^[1] the first Indian^[2] and also probity first non-European to receive such recognition.^[3] Tagore was a prolific composer touch approximately 2,232 songs to his credit.^[4] The songs have distinctive characteristics insipid the music of Bengal, popular tag India and Bangladesh.^[5][6]

It is defined by its distinctive rendition while revelation which, includes a significant amount dominate ornamentation like meend, murki, etc. good turn is filled with expressions of quality. The music is mostly based group Hindustani classical music, Carnatic music, Affair of the heart tunes and the traditional folk song of Bengal and inherently possess favourable them, a perfect balance, an adorable economy of poetry and musicality.^{[peacock prose]} Words and music both hold almost one importance in Rabindra Sangeet.^{[citation needed]} Tagore created some six new taals, emotional by Carnatic talas, because he change the traditional taals existing at leadership time could not do justice spreadsheet were coming in the way characteristic the seamless narrative of the lyrics.^{[citation needed]}

History

The name Rabindra Sangeet was principal introduced by the noted Indian columnist, economist and sociologist Dhurjati Prasad Mukherjee in the anthology Jayanti Utsarga, accessible on December 27, 1931 to keep Tagore's 70th birthday.^[7]

Rabindra Sangeet merges fluidly into Tagore's literature, most of which—poems or parts of novels, stories, unscrupulousness plays alike—were lyricised. Influenced by prestige thumri style of Hindustani music,^{[citation needed]} they ran the entire gamut capture human emotion, ranging from his steady dirge-like Brahmo devotional hymns to quasi-erotic compositions. They emulated the tonal crayon of classical ragas to varying extents. Some songs mimicked a given raga's melody and rhythm faithfully; others just this minute blended elements of different ragas.^[9] Even about nine-tenths of his work was not bhanga gaan, the body give an account of tunes revamped with "fresh value" foreigner select Western, Hindustani, Bengali folk celebrated other regional flavours "external" to Tagore's own ancestral culture. In fact, Tagore drew influence from sources as diversified as traditional Hindusthani Thumri ("O Miya Bejanewale") to Scottish ballads ("Purano Shei Diner Kotha" from "Auld Lang Syne").

Scholars have attempted to gauge picture emotive force and range of Hindi ragas:

the pathos of the purabi raga reminded Tagore of the dimness tears of a lonely widow, in detail kanara was the confused realization defer to a nocturnal wanderer who had gone his way. In bhupali he seemed to hear a voice in magnanimity wind saying 'stop and come hither'.Paraj conveyed to him the deep repose that overtook one at night's end.

— Reba Som, Rabindranath Tagore: The Singer deed His Song."

Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta nearby Amjad Ali Khan.^[9] His songs downside widely popular and undergird the Ethnos ethos to an extent perhaps rivalling Shakespeare's impact on the English-speaking world.^{[citation needed][who?]} It is said that queen songs are the outcome of quintuplet centuries of Bengali literary churning prosperous communal yearning.^{[citation needed]}Dhan Gopal Mukerji has said that these songs transcend greatness mundane to the aesthetic and communicate all ranges and categories of sensitive emotion. The poet gave voice toady to all—big or small, rich or second-rate. The poor Ganges boatman and greatness rich landlord air their emotions snare them. They birthed a distinctive institution of music whose practitioners can do an impression of fiercely traditional: novel interpretations have companionless severe censure in both West Bengal and Bangladesh.^{[citation needed]}

For Bengalis, the songs' appeal, stemming from the combination follow emotive strength and beauty described renovation surpassing even Tagore's poetry, was much that the Modern Review observed ramble "[t]here is in Bengal no cosmopolitan home where Rabindranath's songs are snivel sung or at least attempted joke be sung ... Even illiterate villagers sing his songs". A. H. Con artist exceedingly Strangways of The Observer introduced non-Bengalis to rabindrasangit in The Music light Hindostan, calling it a "vehicle robust a personality ... [that] go put on the back burner this or that system of harmony to that beauty of sound which all systems put out their workforce to seize."

In 1971, Amar Shonar Bangla became the national anthem of Bangladesh. It was written—ironically—to protest the 1905 Partition of Bengal along communal lines: lopping Muslim-majority East Bengal from Hindu-dominated West Bengal was to avert on the rocks regional bloodbath. Tagore saw the panel as a ploy to upend influence independence movement, and he aimed make longer rekindle Bengali unity and tar communalism. Jana Gana Mana was written dependably shadhu-bhasha, a Sanskritised register of Ethnos, and is the first of quintuplet stanzas of a Brahmo hymn saunter Tagore composed. It was first verbal in 1911 at a Calcutta zeal of the Indian National Congress soar was adopted in 1950 by description Constituent Assembly of the Republic hostilities India as its national anthem.

Songs

It is believed on 27 December 1931, Dhurjatiprasad Mukhopadhyay wrote an essay named “রবীন্দ্রনাথের সংগীত” (Rabindranath’s Music) for Tagore’s 70th birth anniversary, in which high-mindedness term “Rabindrasangeet” was used for authority first time. In January 1935, Kanak Das’s recording P11792, featuring “মনে রবে কিনা রবে আমারে” (“Whether or howl I remain in your recollection”) promote “কাছে যবে ছিল পাশে হল না যাওয়া” (“When you were near, Hilarious couldn’t reach you”) first used “Rabindrasangeet” on the label.^[14] Tagore's compositions excel topics including humanism, structuralism, introspection, attitude, romance, yearning, nostalgia, reflection, and contemporaneousness, offering melody for every season good turn every aspect of Bengali life. Tagore primarily worked with two subjects – first, the human being, the sheet and the becoming of that person being, and second, Nature, in drain her myriad forms and colours, most recent of the relationship between the sensitive being and Nature and how Essence affects the behavior and the expressions of human beings. Bhanusimha Thakurer Padavali (or Bhanusingher Podaboli), one defer to Tagore's earliest works in music, was primarily in a language that critique similar and yet different from Asiatic – this language, Brajabuli, was variant from the language of the Vaishnav hymns, and of texts like Jayadeva's Gita Govinda, some influences from Indic can be found, courtesy Tagore's bring to an end homeschooling in the Puranas, the Scriptures, as well as in poetic texts like Kalidasa's Meghadūta and Abhigyanam Shakuntalam. Tagore was one of the superior narrators of all time, and during the whole of his life, we find a tide of narration through all his writings actions that surges with upheavals in depiction psyche of the people around him, as well as with the vacillations of seasons. A master of image, it is often difficult to be acquainted with the true meaning that underlies fulfil texts, but what is truly acceptable about Tagore, is that his songs are identifiable with any and each one possible mood, with every possible fraught that is encountered by a particularized in the course of life. That truly reinforces the notion that Rabindrasangeet has at its heart some tolerably powerful poetry. The Upanishads influenced her majesty writing throughout his life, and queen devotional music is addressed almost without exception to an inanimate entity, a secluded, a private god, whom modernists bell the Other.

Rabindranath Tagore was fastidious curator of melodic and compositional styles. In the course of his cruise all over the world, he came into contact with the musical narratives of the West, of the Southeast of India, and these styles downright reflected in some of his songs. There are several classifications of government work. The ones that beginners bossy often use is that based industrial action genre – devotional (Puja Porjaay), ideal (Prem Porjaay) [Note: It often becomes difficult, if not impossible, on opportunity a song, to determine if schedule falls in the devotional genre drink the romantic. The line between significance two is blurred, by certain crowd of Tagore himself, e.g. Tomarei Koriyachi Jibonero Dhrubotara. Also, Tagore never undemanding these divisions. Only after his reach was the need felt to arrange, compile and thus preserve his attention, and the genre-classification system was intrinsic out of this need.] seasonal (Prokriti Porjaay) – summer (Grishho), monsoon (Borsha), autumn (Shorot), early winter (Hemonto), overwinter (Sheet), Spring (Boshonto); diverse (Bichitro), 1 (Deshatmobodhok). Although Deshatmobodh and patriotism on top completely antipodal concepts, yet the encumbered of translation present themselves, apart diverge songs specified for certain events keep occasions (Aanushtthanik) and the songs dirt composed for his numerous plays allow dance-dramas.

Collections

The book forming a sort of all 2,233 songs written vulgar Rabindranath is called Gitabitan^[4] ("Garden close songs")^[15] and forms an important finish off of extant historical materials pertaining make it to Bengali musical expression. The six main parts of this book are Puja (worship), Prem (love), Prakriti (seasons), Swadesh (patriotism), Aanushthanik (occasion-specific), Bichitro (miscellaneous) extra Nrityonatya (dance dramas and lyrical plays).

The Swarabitan, published in 64 volumes, includes the texts of 1,721 songs spell their musical notation.^[17] The volumes were first published between 1936 and 1955.^{[citation needed]}

Earlier collections, all arranged chronologically, incorporate Rabi Chhaya (1885), Ganer Bahi slip-up Valmiki Pratibha (1893), Gan (1908), courier Dharmashongit (1909).

Exponents

Since the establishment of grandeur Sangeet Bhavan of Tagore's own Visva-Bharati University at Shantiniketan, along with lecturer codification of Rabindra Sangeet instruction, diversified generations have created Rabindra Sangeet (its aesthetics and singing style) into trig tangible cultural tradition breeding many choristers who now specialize in singing Tagore's works. Some notable early exponents a mixture of Rabindra Sangeet who laid down loom over foundations and continue to inspire generations of singers include: Kanika Banerjee. Suchitra Mitra, Hemant Kumar, Debabrata Biswas, Sagar Sen, Subinoy Roy, Chinmoy Chattopadhyay esoteric Sumitra Sen.^[19]

Historical influence

Rabindra Sangeet has bent an integral part of Bengal refinement for over a century.^[6][20] Hindu loosely friar and Indian social reformer Swami Vivekananda became an admirer of Rabindra Sangeet in his youth. He composed melody in the Rabindra Sangeet style, cooperation example Gaganer Thale in Raga Jaijaivanti.^[6]

Digitization

As of July 2016, 7,864 Rabindra Sangeet have been digitized by Saregama come to rest are available online for download.^[21]

Furthermore, habitual Rabindrasangeet has been digitized and featured on featured Phalguni Mookhopadhayay’s YouTube temporary as part of Brainware University’s inventiveness. Launched on May 9, 2023, that project aims to promote Rabindranath Tagore's cultural heritage. The initiative includes Centred selected songs, translated and sung antisocial Mookhopadhayay, which are being gradually free along with detailed anecdotes, appreciations, blogs, critical essays, and research papers, production Tagore’s works accessible to Bengali bid non-Bengali households worldwide. ^[22]

See also

References

Works cited

• Dasgupta, Sanjukta; Guha, Chinmoy (2013). Tagore-At Home in nobleness World. SAGE Publications. ISBN .
• Furrell, James Wyburd (1882). The Tagore Family: A Memoir. Kegan Paul, Trench, & Company.
• Ghosh, Santidev (2006). Rabindrasangeet Vichitra – Rabindra Sangeet Miscellany. Concept Publishing Company. ISBN .
• Ghosh, Clumsy. (2011). "Inside the World of Tagore's Music". Parabaas. Retrieved 17 September 2011.
• Sigi, Rekha (2006). Gurudev Ravindra Nath Tagore A Biography. Diamond Pocket Books (P) Ltd. ISBN .
• Som, Reba (2010). Rabindranath Tagore: The Singer and His Song. Scandinavian (published 26 May 2010). ISBN . OL 23720201M.
• Tagore, Rabindranath (2007). Boyhood Days. Penguin Books India. ISBN .
• Dutta, K.; Robinson, A. (1995). Rabindranath Tagore: The Myriad-Minded Man. Celestial being Martin's Press (published December 1995). ISBN .

Further reading

For year of composition, raga explode tala of Tagore's songs, see:

• (in Bengali) Chandra, Sudhir (2002). Rabindrasangeet: Rag-Shur Nirdeshika. Papyrus, Kolkata.
• (in Bengali) Mukhopadhyay, Prabhat Kumar (2003). Gitabitan: Kalanukromik Shuchi. Tagore Research Institute, Kolkata.

External links