Rabindra Sangeet Swaralipi3/18/2021
Read About Notation Rabindranath was reluctant to publish notations of his compositions.Unlike in Western Music the totality of Hindustani Music is never expressed through a notation.
Indira Debi Chowdhurani who had instigated Rabindranath for endorsement of a notation system. But it represents only the basic structure of the song, and one can only master that if he has enough depth on the Raag or Chalan (movement of the tune) of the song. As it is told in Hindustani Classical music Gurumukhi Vidya. Yet we have to depend on these notations that were compiled with utmost care and precision. One has to pick up notes from the notation and compare them with the movements of the raag and then only the song would take its desired shape and color. Rabindra Sangeet Swaralipi How To Read NotationsBooks published from the Viswabharati contain pages describing how to read notations, as they are complicated and contain various indications. Some new exciting features have been added for Rabindra Sangeet lovers and singers. Although Deshatmobodh and patriotism are completely antipodal concepts, yet the difficulties of translation present themselves, apart from songs specified for certain events or occasions (Aanushtthanik) and the songs he composed for his numerous plays and dance-dramas. The music is mostly based on Hindustani classical music, Carnatic Classical Music, Western tunes and the inherent Folk music of Bengal and inherently possess within them, a near perfect balance, an endearing economy of poetry and musicality. Lyrics and music both hold almost equal importance in Rabindra Sangeet. Tagore created some six new taals (Which were actually inspired by Carnatic Talas) because he felt the traditional taals existing at the time could not do justice and were coming in the way of the seamless narrative of the lyrics. Influenced by the thumri style of Hindustani music, they ran the entire gamut of human emotion, ranging from his early dirge-like Brahmo devotional hymns to quasi-erotic compositions. They emulated the tonal color of classical ragas to varying extents. Some songs mimicked a given ragas melody and rhythm faithfully; others newly blended elements of different ragas. Yet about nine-tenths of his work was not bhanga gaan, the body of tunes revamped with fresh value from select Western, Hindustani, Bengali folk and other regional flavours external to Tagores own ancestral culture. In fact, Tagore drew influence from sources as diverse as traditional Hindusthani Thumri (O Miya Bejanewale) to Scottish ballads (Purano Shei Diner Kotha from Auld Lang Syne ). In bhupali he seemed to hear a voice in the wind saying stop and come hither. Paraj conveyed to him the deep slumber that overtook one at nights end. The poor Ganges boatman and the rich landlord air their emotions in them. They birthed a distinctive school of music whose practitioners can be fiercely traditional: novel interpretations have drawn severe censure in both West Bengal and Bangladesh. Even illiterate villagers sing his songs. A. H. Fox Strangways of The Observer introduced non-Bengalis to rabindrasangit in The Music of Hindostan, calling it a vehicle of a personality. It was writtenironicallyto protest the 1905 Partition of Bengal along communal lines: lopping Muslim-majority East Bengal from Hindu-dominated West Bengal was to avert a regional bloodbath. Tagore saw the partition as a ploy to upend the independence movement, and he aimed to rekindle Bengali unity and tar communalism. Jana Gana Mana was written in shadhu-bhasha, a Sanskritised register of Bengali, and is the first of five stanzas of a Brahmo hymn that Tagore composed. It was first sung in 1911 at a Calcutta session of the Indian National Congress and was adopted in 1950 by the Constituent Assembly of the Republic of India as its national anthem. Tagore primarily worked with two subjects first, the human being, the being and the becoming of that human being, and second, Nature, in all her myriad forms and colours, and of the relationship between the human being and Nature and how Nature affects the behavior and the expressions of human beings. Bhanusimha Thakurer Padavali (or Bhanusingher Podaboli ), one of Tagores earliest works in music, was primarily in a language that is similar and yet different from Bengali this language, Brajabuli, was derived from the language of the Vaishnav hymns, and of texts like Jayadeva s Gita Govinda, some influences from Sanskrit can be found, courtesy Tagores extensive homeschooling in the Puranas, the Upanishads, as well as in poetic texts like Kalidasa s Meghadta and Abhigyanam Shakuntalam. Tagore was one of the greatest narrators of all time, and throughout his life, we find a current of narration through all his works that surges with upheavals in the psyche of the people around him, as well as with the changes of seasons. A master of metaphor, it is often difficult to identify the true meaning that underlies his texts, but what is truly great about Tagore, is that his songs are identifiable with any and every possible mood, with every possible situation that is encountered by a person in the course of life. The Upanishads influenced his writing throughout his life, and his devotional music is addressed almost always to an inanimate entity, a personal, a private god, whom modernists call the Other. In the course of his travels all over the world, he came into contact with the musical narratives of the West, of the South of India, and these styles are reflected in some of his songs. The ones that beginners most often use is that based on genre devotional (Puja Porjaay), romantic (Prem Porjaay) Note: It often becomes difficult, if not impossible, on hearing a song, to determine if it falls in the devotional genre or the romantic. The line between the two is blurred, by certain creations of Tagore himself, e.g. Tomarei Koriyachi Jibonero Dhrubotara. Only after his death was the need felt to categorize, compile and thus preserve his work, and the genre-classification system was born out of this need.
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