101-627: Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas Malkauns, known also as rag Malkosh , is a raga in Indian classical music . It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam , not to be confused with the Hindustani Hindol . According to Indian classical vocalist Pandit Jasraj , Malkauns
202-456: A melodic mode . Rāga is central to classical Indian music. Each rāga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each rāga provides the musician with a musical framework within which to improvise. Improvisation by
303-586: A "masculine" rāga. These are envisioned to parallel the god-goddess themes in Hinduism, and described variously by different medieval Indian music scholars. For example, the Sangita-darpana text of 15th-century Damodara Misra proposes six rāgas with thirty ragini , creating a system of thirty six, a system that became popular in Rajasthan . In the north Himalayan regions such as Himachal Pradesh ,
404-528: A 'Kauns' family of related ragas. 'Man Tarpat Hari Darshan Ko Aaj' (film Baiju Bawra , performed by Mohammad Rafi ), 'Aadha Hai Chandrama Raat Aadhi' (film Navrang, performed by Mahendra Kapoor and Asha Bhosle ), 'Chham Chham Ghunghroo Bole' (film Kaajal, performed by Asha Bhosle ), 'Ankhiyan Sang Ankhiyaan Laagi Aaj' (film Bada Aadmi), 'Balma Maane Na' (film Opera House) and 'Rang raliyaan karat sautan sang' (film Birbal My Brother), 'Ek Ladki Thi' (film Love You Hamesha , performed by Kavita Krishnamurti ) are
505-539: A child star including Bhatt's Ek Hi Bhool (1940). Meena Kumari's first adult role was in Bachchon Ka Khel (Child's Play) (1946) directed by Raja Nene. Filmindia in the June 1946 issue, commented on her appearance "Meena Kumari, up till recently a 'baby,' now plays the charming heroine of the story". Several socials, mythologicals and fantasy films followed. In 1952, Meena Kumari "shot into stardom" following
606-643: A classical component in Hindi film songs. The soundtrack was based on classical ragas , such as Puriya Dhanashree, Todi, Malkauns, Darbari and Desi. The lyricist was Shakeel Badayuni , a Naushad discovery. For Baiju Bawra , Badayuni had to forgo Urdu, and write lyrics in pure Hindi, with songs such as the bhajan "Man Tadpat Hari Darshan Ko Aaj" becoming popular. The film starred Bharat Bhushan as Baiju , with Meena Kumari playing his love interest Gauri. Meena made her acting debut in Bhatt's Leatherface (1939) as
707-406: A different intensity of mood. A rāga has a given set of notes, on a scale, ordered in melodies with musical motifs. A musician playing a rāga , states Bruno Nettl , may traditionally use just these notes but is free to emphasize or improvise certain degrees of the scale. The Indian tradition suggests a certain sequencing of how the musician moves from note to note for each rāga , in order for
808-587: A few Hindi film compositions based on Malkauns. 'Rajasekhara' in the film 'Anarkali' in Tamil and Telugu is a composition based on this in South India. "Ohm Namashivaya" and "Margazhi Poove" songs in Tamil by Ilaiyaraaja and AR Rahman from Salangai Oli and May Madham respectively,""Neenu Neene" song from the movie Gadibidi Ganda, "Ra Ra" song in the movie Apthamitra in Kannada are also the best examples. Note that
909-468: A film based on Indian classical music was met with scepticism by the film industry due to its "lack of mass appeal", with his friends referring to him as "Viju Bawra" (Viju Crazy/Insane). Vijay Bhatt was the first to use two "classical giants on a common platform for path-breaking duets" twice. Ustad Amir Khan with Pandit D. V. Paluskar in Baiju Bawra and shehnai maestro Ustad Bismillah Khan and
1010-466: A given mode or a given melody; it is mode with added multiple specialities". A rāga is a central concept of Indian music, predominant in its expression, yet the concept has no direct Western translation. According to Walter Kaufmann, though a remarkable and prominent feature of Indian music, a definition of rāga cannot be offered in one or two sentences. rāga is a fusion of technical and ideational ideas found in music, and may be roughly described as
1111-401: A musical entity that includes note intonation, relative duration and order, in a manner similar to how words flexibly form phrases to create an atmosphere of expression. In some cases, certain rules are considered obligatory, in others optional. The rāga allows flexibility, where the artist may rely on simple expression, or may add ornamentations yet express the same essential message but evoke
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#17327874468831212-600: A musician to construct a state of experience in the audience. The word appears in the ancient Principal Upanishads of Hinduism , as well as the Bhagavad Gita . For example, verse 3.5 of the Maitri Upanishad and verse 2.2.9 of the Mundaka Upanishad contain the word rāga . The Mundaka Upanishad uses it in its discussion of soul (Atman-Brahman) and matter (Prakriti), with the sense that
1313-450: A musician. He comes to believe that Tansen, the famed musician at the court of Akbar, is responsible for his father's death. The movie then follows Baiju's attempt to avenge his father's death by challenging Tansen to a musical duel. Even though there were many changes in the storyline from the original life of Baiju Bawra, the film was both a commercial and critical success and catapulted both its lead actors into stardom. Meena Kumari became
1414-513: A natural existence. Artists do not invent them, they only discover them. Music appeals to human beings, according to Hinduism, because they are hidden harmonies of the ultimate creation. Some of its ancient texts such as the Sama Veda (~1000 BCE) are structured entirely to melodic themes, it is sections of Rigveda set to music. The rāgas were envisioned by the Hindus as manifestation of
1515-467: A princess living in exile, tells Baiju how her father's fiefdom had been usurped and she was seeking revenge because the village too previously belonged to her father. The word "revenge" brings all of Baiju's memories back; he leaves the fort greatly agitated, and the princess does not try to stop him. Baiju sneaks into the Mughal palace, where Tansen is singing. He is dumbstruck by the way Tansen sings, and
1616-462: A series of empirical experiments he did with the Veena , then compared what he heard, noting the relationship of fifth intervals as a function of intentionally induced change to the instrument's tuning. Bharata states that certain combinations of notes are pleasant, and certain others are not so. His methods of experimenting with the instrument triggered further work by ancient Indian scholars, leading to
1717-638: A six-year-old. Surendra portrayed Tansen , one of the Navratnas in Akbar's court. Kuldip Kaur played the role of the dacoit queen Roopmati . The rest of the cast included Bipin Gupta, Manmohan Krishna, B. V. Vyas and Baby Tabassum. The film merges the legend of Baiju Bawra with the historic setting of Mughal Emperor Akbar 's court in India. Baiju (Bhushan) is the son of a musician who also grows up to be
1818-547: A slow tempo (vilambit laya). Ornaments such as meend, gamak and andolan are used rather than 'lighter' ornaments such as murki and khatka. Komal Ni is generally considered the starting note (graha swara), and the notes komal Ga and komal Dha are performed with vibrato (andolit). All five swaras can function as pausing notes. The komal Ni in Malkauns is different from the komal Ni in Bhimpalasi. The best time for this raga
1919-642: A star and "crystallised Bhushan's image as an actor of 'note'". The pathos required of his role was acclaimed by critics as well as audiences, as were the singing sequences of classical raga-based songs in Mohammad Rafi's voice. Bhatt and Bhushan worked again the following year in Shri Chaitanya Mahaprabhu (1953), for which Bhushan received the Filmfare Best Actor Award. Surendra , a popular leading actor of
2020-547: A tragic hero ran parallel with that of Dilip Kumar in the 1950s, but he lacked the "intensity and charisma" of Kumar. However, his "mellow looks matched by a soft voice" had the compassion required to depict sympathetic roles, with his specialty being a "sensitive, suffering poet-musician" in several hit musicals such as Baiju Bawra , Mirza Ghalib (1954), Basant Bahar (1956), Barsaat Ki Raat (1960) and Sangeet Samrat Tansen (1962). Signed by Bhatt for Baiju Bawra , his "unruly mop and simple demeanour" established him as
2121-408: Is a more structured team performance, typically with a call and response musical structure, similar to an intimate conversation. It includes two or more musical instruments, and incorporates various rāgas such as those associated with Hindu gods Shiva ( Bhairav ) or Krishna ( Hindola ). The early 13th century Sanskrit text Sangitaratnakara , by Sarngadeva patronized by King Sighana of
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#17327874468832222-462: Is a raga that is "sung during small hours of the morning, just after midnight." He further adds that the raga has a soothing and intoxicating effect. Mahesh Mahadev, Raghuram The name Malkaush is derived from the combination of Mal and Kaushik , which means he who wears serpents like garlands – the god Shiva. However, the Malav-Kaushik mentioned in classical texts does not appear to be
2323-492: Is actually Ga-Sadharan (the rough minor third), 316-cent above Sa. This corresponds to the note ga2, in the 22 shrutis list, with a factor of 6/5. The vadi swara is Madhyam (Ma) while the Samavadi swara is Shadaj (Sa). Pakad : G̱ M Ḏ M G̱ M G̱ S Malkauns is a serious, meditative raga, and is developed mostly in the lower octave (mandra saptak) and in
2424-838: Is also very close to it, states Emmie te Nijenhuis, with the difference that each sruti computes to 54.5 cents, while the Greek enharmonic quarter-tone system computes to 55 cents. The text discusses gramas ( scales ) and murchanas ( modes ), mentioning three scales of seven modes (21 total), some Greek modes are also like them . However, the Gandhara-grama is just mentioned in Natyashastra , while its discussion largely focuses on two scales, fourteen modes and eight four tanas ( notes ). The text also discusses which scales are best for different forms of performance arts. These musical elements are organized into scales ( mela ), and
2525-473: Is best in spring, Pancama in summer, Sadjagrama and Takka during the monsoons, Bhinnasadja is best in early winter, and Kaisika in late winter. In the 13th century, Sarngadeva went further and associated rāga with rhythms of each day and night. He associated pure and simple rāgas to early morning, mixed and more complex rāgas to late morning, skillful rāgas to noon, love-themed and passionate rāgas to evening, and universal rāgas to night. In
2626-571: Is conceptually similar to the 12th century Guidonian hand in European music. The study that mathematically arranges rhythms and modes ( rāga ) has been called prastāra (matrix).( Khan 1996 , p. 89, Quote: "… the Sanskrit word prastāra , … means mathematical arrangement of rhythms and modes. In the Indian system of music there are about the 500 modes and 300 different rhythms which are used in everyday music. The modes are called Ragas.") In
2727-455: Is considered a manifestation of Kama (god of love), typically through Krishna . Hindola is also linked to the festival of dola , which is more commonly known as "spring festival of colors" or Holi . This idea of aesthetic symbolism has also been expressed in Hindu temple reliefs and carvings, as well as painting collections such as the ragamala . In ancient and medieval Indian literature,
2828-421: Is intimately related to tala or guidance about "division of time", with each unit called a matra (beat, and duration between beats). A rāga is not a tune, because the same rāga can yield an infinite number of tunes. A rāga is not a scale, because many rāgas can be based on the same scale. A rāga , according to Bruno Nettl and other music scholars, is a concept similar to a mode, something between
2929-400: Is known to be the greatest classical vocalist ever to have existed in India, and was one of the nine jewels ( Navaratnas ) of Emperor Akbar's court. Nobody could sing in the city unless he or she could sing better than Tansen. If this was not the case, he or she was executed. Baiju Bawra is the story of an unknown singer, Baiju, who is on a mission to defeat Tansen in a musical duel to avenge
3030-405: Is late night. The effect of the raga is soothing and intoxicating. In teaching this rāg to students in the early 1980s, Ali Akbar Khan confirmed that Malkaush is a midnight rāg of Bhairavi thaat , Aurav jati, with moods of devotion, peace and heroism. He remarked: " Djinni like this rāg" and "At first makes you sleepy, then gives you energy to move mountains." A lakshan geet (song that describes
3131-498: Is no longer in use today because the 'related' rāgas had very little or no similarity and the rāga-rāginī classification did not agree with various other schemes. The North Indian rāga system is also called Hindustani , while the South Indian system is commonly referred to as Carnatic . The North Indian system suggests a particular time of a day or a season, in the belief that the human state of psyche and mind are affected by
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3232-534: Is probably a pronunciation of rāga . According to Hormoz Farhat , it is unclear how this term came to Persia, it has no meaning in modern Persian language, and the concept of rāga is unknown in Persia. Baiju Bawra (1952 film) Baiju Bawra ( lit. ' Crazy Baiju ' ) is a 1952 Hindi musical romantic drama film directed by Vijay Bhatt . Produced by Prakash Pictures, with story by Ramchandra Thakur and dialogues by Zia Sarhadi, Baiju Bawra
3333-834: Is recognizably the same. Some rāgas are common to both systems but have different names, such as malkos of Hindustani system is recognizably the same as hindolam of Carnatic system. However, some rāgas are named the same in the two systems, but they are different, such as todi . Recently, a 32 thaat system was presented in a book Nai Vaigyanik Paddhati to correct the classification of ragas in North Indian style. Rāgas that have four svaras are called surtara (सुरतर) (tetra tonic) rāgas; those with five svaras are called audava (औडव) (pentatonic) rāgas; those with six are called shaadava (षाडव) (hex-tonic); and those with seven are called sampurna (संपूर्ण, Sanskrit for 'complete') (heptatonic). The number of svaras may differ in
3434-422: Is too simplistic. According to them, a rāga of the ancient Indian tradition can be compared to the concept of non-constructible set in language for human communication, in a manner described by Frederik Kortlandt and George van Driem ; audiences familiar with raga recognize and evaluate performances of them intuitively. The attempt to appreciate, understand and explain rāga among European scholars started in
3535-531: Is unhappy to see him go and asks Tansen to sing to produce a storm and floods to make him stay. Tansen sings raga Megh and the river Yamuna floods. (This scene was cut from the final film.) Meanwhile, Gauri is alive but her father is deeply upset. The entire village makes fun of Gauri's and Baiju's love affair. Her father warns her that either Baiju should be found, or Gauri should marry a village moneylender, and in case she refuses, he would commit suicide. Gauri, unwilling to divulge Baiju's whereabouts, agrees to marry
3636-654: The Dattilam section of Brihaddeshi has survived into the modern times, but the details of ancient music scholars mentioned in the extant text suggest a more established tradition by the time this text was composed. The same essential idea and prototypical framework is found in ancient Hindu texts, such as the Naradiyasiksa and the classic Sanskrit work Natya Shastra by Bharata Muni , whose chronology has been estimated to sometime between 500 BCE and 500 CE, probably between 200 BCE and 200 CE. Bharata describes
3737-528: The Panchatantra . Indian classical music has ancient roots, and developed for both spiritual ( moksha ) and entertainment ( kama ) purposes. Rāga , along with performance arts such as dance and music, has been historically integral to Hinduism, with some Hindus believing that music is itself a spiritual pursuit and a means to moksha (liberation). Rāgas , in the Hindu tradition, are believed to have
3838-577: The Yoga Sutras II.7, rāga is defined as the desire for pleasure based on remembering past experiences of pleasure. Memory triggers the wish to repeat those experiences, leading to attachment. Ego is seen as the root of this attachment, and memory is necessary for attachment to form. Even when not consciously remembered, past impressions can unconsciously draw the mind toward objects of pleasure. According to Cris Forster, mathematical studies on systematizing and analyzing South Indian rāga began in
3939-501: The rāga are described as manifestation and symbolism for gods and goddesses. Music is discussed as equivalent to the ritual yajna sacrifice, with pentatonic and hexatonic notes such as "ni-dha-pa-ma-ga-ri" as Agnistoma , "ri-ni-dha-pa-ma-ga as Asvamedha , and so on. In the Middle Ages, music scholars of India began associating each rāga with seasons. The 11th century Nanyadeva, for example, recommends that Hindola rāga
4040-536: The vadi than to other notes. The samvadi is consonant with the vadi (always from the anga that does not contain the vadi) and is the second most prominent svara in the raga. The Sanskrit word rāga (Sanskrit: राग ) has Indian roots, as *reg- which connotes "to dye". Cognates are found in Greek , Persian , Khwarezmian and other languages, such as "raxt", "rang", "rakt" and others. The words "red" and "rado" are also related. According to Monier Monier-Williams ,
4141-691: The "strong dacoit queen" who lures Baiju away from his village made a "major impact" and was critically acclaimed. Naushad had come into prominence following his fourth film Station Master (1942), a Bhatt film production. The box office success of Station Master helped Naushad showcase his talent and become popular. Naushad at this time was under contract to A. R. Kardar , who had allowed him to score music for other companies. Bhatt brought in Naushad to give music for Baiju Bawra because of his expertise in classical music. The two worked together along with Bhatt's older brother Shankar for six months. Shankar
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4242-470: The 16th century. Computational studies of rāgas is an active area of musicology. Although notes are an important part of rāga practice, they alone do not make the rāga. A rāga is more than a scale, and many rāgas share the same scale. The underlying scale may have four , five , six or seven tones , called svaras . The svara concept is found in the ancient Natya Shastra in Chapter 28. It calls
4343-446: The 1930s and 1940s, turned to character roles in the 50s. The character of Tansen in Baiju Bawra was a career-reviving role for him. One of the "greatest" highlights of the film was the music-singing competition ( jugalbandi ) between the court musician Tansen and Baiju. Surendra had sung his own songs in his early career, however, he had to lip-sync to Ustad Amir Khan for the song "Ghanana Ghanana Kar Barso Re" in raga Malhar , while
4444-516: The Buddhist monkhood. Among these is the precept recommending "abstain from dancing, singing, music and worldly spectacles". Buddhism does not forbid music or dance to a Buddhist layperson, but its emphasis has been on chants, not on musical rāga . A rāga is sometimes explained as a melodic rule set that a musician works with, but according to Dorottya Fabian and others, this is now generally accepted among music scholars to be an explanation that
4545-495: The Filmfare Award for Best Music Director, his first and only win. The film also established Mohammad Rafi as a top playback singer in Hindi films. The songs Rafi sang for the film, including "Man Tarpat Hari Darshan Ko Aaj" and "O Duniya Ke Rakhwale", went on to become smash hits. All lyrics are written by Shakeel Badayuni ; all music is composed by Naushad A remake of the film tentatively titled Baiju-The Gypsy
4646-566: The Islamic rule period of the Indian subcontinent, particularly in and after the 15th century, the mystical Islamic tradition of Sufism developed devotional songs and music called qawwali . It incorporated elements of rāga and tāla . The Buddha discouraged music aimed at entertainment to monks for higher spiritual attainment, but encouraged chanting of sacred hymns. The various canonical Tripitaka texts of Buddhism, for example, state Dasha-shila or ten precepts for those following
4747-1536: The Janaka rāgas using a combination of the swarams (usually a subset of swarams) from the parent rāga. Some janya rāgas are Abheri , Abhogi , Bhairavi , Hindolam , Mohanam and Kambhoji . In this 21st century few composers have discovered new ragas . Dr. M. Balamuralikrishna who has created raga in three notes Ragas such as Mahathi, Lavangi, Sidhdhi, Sumukham that he created have only four notes, A list of Janaka Ragas would include Kanakangi , Ratnangi , Ganamurthi, Vanaspathi , Manavathi , Thanarupi, Senavathi, Hanumatodi , Dhenuka , Natakapriya , Kokilapriya , Rupavati , Gayakapriya , Vakulabharanam , Mayamalavagowla , Chakravakam , Suryakantam , Hatakambari , Jhankaradhvani , Natabhairavi , Keeravani , Kharaharapriya , Gourimanohari , Varunapriya , Mararanjani , Charukesi , Sarasangi , Harikambhoji , Sankarabharanam , Naganandini , Yagapriya , Ragavardhini , Gangeyabhushani , Vagadheeswari , Shulini , Chalanata , Salagam , Jalarnavam , Jhalavarali , Navaneetam , Pavani . Classical music has been transmitted through music schools or through Guru –Shishya parampara (teacher–student tradition) through an oral tradition and practice. Some are known as gharana (houses), and their performances are staged through sabhas (music organizations). Each gharana has freely improvised over time, and differences in
4848-487: The Rotterdam Conservatory of Music defined rāga as a "tonal framework for composition and improvisation." Nazir Jairazbhoy , chairman of UCLA 's department of ethnomusicology , characterized rāgas as separated by scale, line of ascent and descent, transilience , emphasized notes and register, and intonation and ornaments . Rāginī ( Devanagari : रागिनी) is a term for the "feminine" counterpart of
4949-404: The South Indian system of rāga works with 72 scales, as first discussed by Caturdandi prakashika . They are divided into two groups, purvanga and uttaranga , depending on the nature of the lower tetrachord. The anga itself has six cycles ( cakra ), where the purvanga or lower tetrachord is anchored, while there are six permutations of uttaranga suggested to the artist. After this system
5050-588: The Swami himself and asks for his guidance, informing him of his plan to take revenge against Tansen. Haridas tells Baiju that one must be in love to be a true musician, and thus Baiju must rid himself of all the hatred in his heart, but still gives him a veena and accepts him as his disciple. Baiju again starts his musical training, spending all his time in a Shiva temple, but his vengeful feelings never leave him. Nonetheless, he still reveres his guru , Haridas. After learning that his teacher had fallen seriously ill and
5151-641: The Yadava dynasty in the North-Central Deccan region (today a part of Maharashtra ), mentions and discusses 253 rāgas . This is one of the most complete historic treatises on the structure, technique and reasoning behind rāgas that has survived. The tradition of incorporating rāga into spiritual music is also found in Jainism , and in Sikhism , an Indian religion founded by Guru Nanak in
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#17327874468835252-554: The ancient texts of Hinduism, the term for the technical mode part of rāga was jati . Later, jati evolved to mean quantitative class of scales, while rāga evolved to become a more sophisticated concept that included the experience of the audience. A figurative sense of the word as 'passion, love, desire, delight' is also found in the Mahabharata . The specialized sense of 'loveliness, beauty', especially of voice or song, emerges in classical Sanskrit , used by Kalidasa and in
5353-469: The ascending and descending like rāga Bhimpalasi which has five notes in the ascending and seven notes in descending or Khamaj with six notes in the ascending and seven in the descending. Rāgas differ in their ascending or descending movements. Those that do not follow the strict ascending or descending order of svaras are called vakra (वक्र) ('crooked') rāgas. In Carnatic music , the principal rāgas are called Melakarthas , which literally means "lord of
5454-479: The boat, she jumps into the water to rescue Baiju. The boat topples over and after a lot of struggle Gauri manages to reach him. He urges her to go back and leave him, but Gauri replies that they had promised to be together in life and in death, and she would be content in dying with him. They both drown as the film comes to an end. Vijay Bhatt had earlier made religious classics such as Bharat Milap (1942) and Ram Rajya (1943), with Ram Rajya being
5555-629: The brave! Shiv ttva ratnakara, 6, 8, 67 Malkauns belongs to the Bhairavi thaat . Its notes are Sa, komal Ga, shuddh Ma, komal Dha, and komal Ni. In Western classical notation, its notes can be denoted as: tonic, minor third, perfect fourth, minor sixth and minor seventh. In raga Malkauns, Rishabh (Re – second) and Pancham (Pa – perfect fifth) are completely omitted. Its jaati is audav-audav (five-five, that is, pentatonic). Arohana : Ṉ̣ S G̱ M Ḏ Ṉ Ṡ Avarohana : The 'Ga' used
5656-503: The cast were Dilip Kumar as Baiju and Nargis as Gauri. Bhatt's option for Bharat Bhushan and Meena Kumari in the main roles was a matter of financial deliberation and continuity of dates required for the shooting. Meena Kumari , earlier called Mahjabeen Bano, started her acting career at the age of four in Vijay Bhatt's film Leatherface (1939). Her name was changed by Bhatt to Baby Meena in 1940. She acted in several films as
5757-469: The characteristics of the raag) taught by Khansahib relates that Malkaush is one of the six original male ragas (thus ancient) and that its rasas (roughly "moods") are devotion and heroism [tala: Ada Chautāl]: Che ragŏ mĕ se eka rāga / Bhakti rasa, vira rasa / Mālakosha kehārvata / Vadī swara madhyamano samavādi sarajamano arohi SgmdmS avarohi nSSndmSndmgmgs The unique musical structure of Malkauns has given rise to many variations, creating what may be called
5858-639: The concept of rāga is shared by both. Rāga is also found in Sikh traditions such as in Guru Granth Sahib , the primary scripture of Sikhism . Similarly, it is a part of the qawwali tradition in Sufi Islamic communities of South Asia . Some popular Indian film songs and ghazals use rāgas in their composition. Every raga has a svara (a note or named pitch) called shadja , or adhara sadja, whose pitch may be chosen arbitrarily by
5959-457: The death of his father. When Baiju is still a child, Tansen's sentry tries to stop Baiju's father from singing, and in the ensuing scuffle, his father dies. Before dying, he extracts a promise from his son to take revenge against Tansen. Baiju gets shelter from a village priest and while growing up, falls in love with Gauri, the daughter of a boatman. He continues his musical education on his own, but gets so enamoured by Gauri's love that he forgets
6060-437: The development of successive permutations, as well as theories of musical note inter-relationships, interlocking scales and how this makes the listener feel. Bharata discusses Bhairava , Kaushika , Hindola , Dipaka , SrI-rāga , and Megha . Bharata states that these can to trigger a certain affection and the ability to "color the emotional state" in the audience. His encyclopedic Natya Shastra links his studies on music to
6161-465: The divine, a musical note treated as god or goddess with complex personality. During the Bhakti movement of Hinduism, dated to about the middle of 1st millennium CE, rāga became an integral part of a musical pursuit of spirituality. Bhajan and kirtan were composed and performed by the early South India pioneers. A bhajan has a free form devotional composition based on melodic rāgas . A Kirtan
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#17327874468836262-439: The domains of tune and scale, and it is best conceptualized as a "unique array of melodic features, mapped to and organized for a unique aesthetic sentiment in the listener". The goal of a rāga and its artist is to create rasa (essence, feeling, atmosphere) with music, as classical Indian dance does with performance arts. In the Indian tradition, classical dances are performed with music set to various rāgas . Joep Bor of
6363-413: The duel. Baiju manages to do so and wins the competition, saving his own life and finally avenging his father's death. Tansen accepts his defeat graciously, and is in fact happy that there is someone better than him. Baiju persuades Akbar to spare Tansen's life, to return the princess' land to her, and to allow music in the streets. After winning the musical duel, Baiju departs from the court. Emperor Akbar
6464-404: The early colonial period. In 1784, Jones translated it as "mode" of European music tradition, but Willard corrected him in 1834 with the statement that a rāga is both modet and tune. In 1933, states José Luiz Martinez – a professor of music, Stern refined this explanation to "the rāga is more fixed than mode, less fixed than the melody, beyond the mode and short of melody, and richer both than
6565-452: The first that is "sa" , and the fifth that is "pa" , are considered anchors that are unalterable, while the remaining have flavors that differs between the two major systems. The music theory in the Natyashastra , states Maurice Winternitz, centers around three themes – sound, rhythm and prosody applied to musical texts. The text asserts that the octave has 22 srutis or micro-intervals of musical tones or 1200 cents. Ancient Greek system
6666-406: The first-ever Filmfare Best Actress Award winner in 1954, the first of four Best Actress trophies she won in her career. The film's music director, Naushad , also received the inaugural Filmfare Best Music Director Award for the song "Tu Ganga Ki Mauj"; this was Naushad's first and only Filmfare Award win. It was ranked #13 in the list of 20 greatest Indian films by BFI in 2002. Tansen
6767-459: The following songs are composed in Hindolam , the equivalent of raga Malkauns in Carnatic music . आदि ब्रह्म आदि नाद Raga A raga ( IAST : rāga , IPA: [ɾäːɡɐ] ; also raaga or ragam or raag ; lit. ' colouring ' or ' tingeing ' or ' dyeing ' ) is a melodic framework for improvisation in Indian classical music akin to
6868-511: The highlights of the film. However, the solos by Mohammed Rafi "Man Tadpat Hari Darshan Ko Aaj" in raga Malkauns , "O Duniya Ke Rakhwale" in raga Darbari , "Tu Ganga Ki Mauj" in raga Bhairavi and "Insaan Bano" in raga Todi are cited as "real treasures". His composition in the film is cited as the first use of the classical medium by Naushad, but he had based a large number of his songs on Indian rāgas. In Shahjehan (1946) he had composed three classical based tunes for K. L. Saigal . He did
6969-598: The innovative sitar player Abdul Halim Jaffer Khan in Goonj Uthi Shehnai . The film was shot at Prakash Pictures studio at Andheri East in Bombay. According to Ayaz, nobody working on the sets "felt that they were working on a film that would become a milestone". The song sequence of "Tu Ganga ki Mauj" was shot at a river in Dahisar , near Bombay. The film took a year for completion. The original choice for
7070-404: The money-lender. Discovering that she is still alive, Baiju goes to meet Gauri. On the other side of a swollen Yamuna River, Baiju is stuck. The boatmen refuse to take him to the other side. Despite not knowing how to swim, Baiju pushes the boat into the raging waters and starts rowing it. He starts singing and Gauri hears it. She starts running towards the bank. When she sees Baiju struggling with
7171-402: The movie. Baiju is caught and imprisoned, but the princess frees him. However, both of them are caught by Mughal soldiers when escaping, leaving a musical duel with Tansen as the only way to save his life. Emperor Akbar himself witnesses the competition. For a long time, both the singers prove to be equally good. Then Akbar suggests that whoever could melt a marble slab with his singing would win
7272-652: The music scholars such as 16th century Mesakarna expanded this system to include eight descendants to each rāga , thereby creating a system of eighty four. After the 16th-century, the system expanded still further. In Sangita-darpana , the Bhairava rāga is associated with the following raginis: Bhairavi, Punyaki, Bilawali, Aslekhi, Bangali. In the Meskarna system, the masculine and feminine musical notes are combined to produce putra rāgas called Harakh, Pancham, Disakh, Bangal, Madhu, Madhava, Lalit, Bilawal. This system
7373-418: The musician involves creating sequences of notes allowed by the rāga in keeping with rules specific to the rāga . Rāga s range from small rāga s like Bahar and Shahana that are not much more than songs to big rāga s like Malkauns , Darbari and Yaman , which have great scope for improvisation and for which performances can last over an hour. Rāga s may change over time, with an example being Marwa ,
7474-644: The northwest of the Indian subcontinent. In the Sikh scripture, the texts are attached to a rāga and are sung according to the rules of that rāga . According to Pashaura Singh – a professor of Sikh and Punjabi studies, the rāga and tala of ancient Indian traditions were carefully selected and integrated by the Sikh Gurus into their hymns. They also picked from the "standard instruments used in Hindu musical traditions" for singing kirtans in Sikhism. During
7575-496: The only film Mahatma Gandhi watched. Bhatt's interest in literature and music compelled him to make a film about Tansen and the folk-legend singer Baiju Bawra as the main focus. A revenge theme was brought in with a love story and some comic interludes. Emphasis was also laid on the Guru-shishya tradition concentrating on the bond between Baiju and his Guru Swami Haridas , who was also Tansen's Guru. Bhatt's decision to make
7676-438: The performance arts, and it has been influential in Indian performance arts tradition. The other ancient text, Naradiyasiksa dated to be from the 1st century BCE, discusses secular and religious music, compares the respective musical notes. This is earliest known text that reverentially names each musical note to be a deity, describing it in terms of varna (colours) and other motifs such as parts of fingers, an approach that
7777-433: The performance to create a rasa (mood, atmosphere, essence, inner feeling) that is unique to each rāga . A rāga can be written on a scale. Theoretically, thousands of rāga are possible given 5 or more notes, but in practical use, the classical tradition has refined and typically relies on several hundred. For most artists, their basic perfected repertoire has some forty to fifty rāgas . Rāga in Indian classical music
7878-495: The performer. This is taken to mark the beginning and end of the saptak (loosely, octave). The raga also contains an adhista, which is either the svara Ma or the svara Pa . The adhista divides the octave into two parts or anga – the purvanga , which contains lower notes, and the uttaranga , which contains higher notes. Every raga has a vadi and a samvadi . The vadi is the most prominent svara, which means that an improvising musician emphasizes or pays more attention to
7979-624: The primary development of which has been going down into the lower octave, in contrast with the traditional middle octave. Each rāga traditionally has an emotional significance and symbolic associations such as with season, time and mood. Rāgas are considered a means in the Indian musical tradition for evoking specific feelings in listeners. Hundreds of rāgas are recognized in the classical tradition, of which about 30 are common, and each rāga has its "own unique melodic personality". There are two main classical music traditions, Hindustani ( North Indian ) and Carnatic ( South Indian ), and
8080-503: The princess' attempts to get through to him being futile. Baiju instead goes to the Shiva temple and sings a heart-wrenching song condemning the God who had consigned him to his fate; even the idol of Lord Shiva sheds tears at Baiju's grief. In his delirious state, Baiju reaches Tansen's city, singing the whole way. The residents fear for his life and call him bawra (insane), hence the title of
8181-401: The promise made to his father. Later, a group of dacoits raid Baiju's village. With his song, Baiju persuades them against looting the village, but the female leader of the dacoits falls in love with him and asks him to follow them to their fort as a condition for their sparing the village. Baiju leaves with her, leaving the wailing Gauri behind. In the fort, the dacoit leader, who is actually
8282-795: The release of Baiju Bawra . Kumari became the inaugural best actress winner at Filmfare Award for the film. The category for Best Actress was introduced by the Filmfare Awards Committee for the first time that year. Bharat Bhushan began his career in Kidar Sharma 's film Chitralekha (1941) made in Calcutta. After some supporting roles, he was cast in Sohag Raat (1948) opposite Geeta Bali and Begum Para , and in Devendra Goel 's Aankhen (1950). His career as
8383-543: The rendering of each rāga is discernible. In the Indian musical schooling tradition, the small group of students lived near or with the teacher, the teacher treated them as family members providing food and boarding, and a student learnt various aspects of music thereby continuing the musical knowledge of their guru . The tradition survives in parts of India, and many musicians can trace their guru lineage. The music concept of rāk or rang (meaning “colour”) in Persian
8484-933: The same as the Malkauns performed today. The raga is believed to have been created by goddess Parvati to calm lord Shiva , when he was outraged and refused to calm down after Tandav in rage of Sati 's sacrifice. In Jainism , it is also stated that the Raga Malkauns is used by the Tirthankaras with the Ardhamāgadhi Language when they are giving Deshna (Lectures) in the Samavasarana . Malkaush belongs to Shaivait musical school; in fact most pentatonic ragas belong to Shaivait musical school. His mace running with blood, garlanded with skulls of heroes, Malkaush surrounded by braves and bravest of
8585-554: The same in Mela 1948 and Deedar 1951. The plot centered around music, so it was a necessity that the movie's soundtrack be outstanding. Renowned Bollywood music director Naushad and lyricist Shakeel Badayuni created memorable songs for the movie, with all but one being based on Hindustani classical melodies ( ragas ). Noted playback singers Mohammad Rafi , Lata Mangeshkar , and Shamshad Begum , and renowned classical vocalists Amir Khan and D. V. Paluskar lent their voices to
8686-401: The scale". It is also called Asraya rāga meaning "shelter giving rāga", or Janaka rāga meaning "father rāga". A Thaata in the South Indian tradition are groups of derivative rāgas , which are called Janya rāgas meaning "begotten rāgas" or Asrita rāgas meaning "sheltered rāgas". However, these terms are approximate and interim phrases during learning, as the relationships between
8787-570: The score. Amir Khan was a consultant for the music. The result was a critically acclaimed movie soundtrack. Famous songs from the movie include "O Duniya Ke Rakhwale" (based on Raga Darbari ), "Tu Ganga Ki Mauj" (based on Raga Bhairavi ), "Mohe Bhool Gaye Sanwariya" (based on Raga Bhairav with traces of Raga Kalingda), "Man Tarpat Hari Darshan Ko Aaj" (based on Raga Malkauns ), "Aaj Gaawat Man Mero" (Raga Desi ), and Jhoole Mein Pawan Ki Aayi Bahar (based on Raga Pilu ). Naushad won
8888-617: The seasons and by daily biological cycles and nature's rhythms. The South Indian system is closer to the text, and places less emphasis on time or season. The symbolic role of classical music through rāga has been both aesthetic indulgence and the spiritual purifying of one's mind (yoga). The former is encouraged in Kama literature (such as Kamasutra ), while the latter appears in Yoga literature with concepts such as "Nada-Brahman" (metaphysical Brahman of sound). Hindola rāga , for example,
8989-474: The sense of "color, dye, hue". The term rāga in the modern connotation of a melodic format occurs in the Brihaddeshi by Mataṅga Muni dated c. 8th century , or possibly 9th century. The Brihaddeshi describes rāga as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". According to Emmie te Nijenhuis , a professor in Indian musicology,
9090-476: The song sequence between Tansen and Baiju had Ustad Amir Khan and D. V. Paluskar providing playback singing for them. He played the role of Tansen in three films, Baiju Bawra , Rani Roopmati (1957) and Mughal-E-Azam (1960). Kuldip Kaur was known for her negative characters and cited as Indian cinema 's "most polished vamps". Starting her career with a Punjabi film Chaman (1948), she went on to portray female villain roles in several films. Her role as
9191-400: The soul does not "colour, dye, stain, tint" the matter. The Maitri Upanishad uses the term in the sense of "passion, inner quality, psychological state". The term rāga is also found in ancient texts of Buddhism where it connotes "passion, sensuality, lust, desire" for pleasurable experiences as one of three impurities of a character. Alternatively, rāga is used in Buddhist texts in
9292-401: The sword that was supposed to cut the maestro's throat fell on the tanpura , saddening Tansen. He said he could only be killed by music, and the pain that accompanies it. "Dip your notes in melancholy and I'll die on my own," he said. Baiju accordingly leaves the palace to learn "real" music. Baiju remembers that when his father was killed, he was taking Baiju to Swami Haridas . He goes to see
9393-437: The term comes from a Sanskrit word for "the act of colouring or dyeing", or simply a "colour, hue, tint, dye". The term also connotes an emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly related to passion, love, or sympathy for a subject or something. In the context of ancient Indian music, the term refers to a harmonious note, melody, formula, building block of music available to
9494-492: The two layers are neither fixed nor has unique parent–child relationship. Janaka rāgas are grouped together using a scheme called Katapayadi sutra and are organised as Melakarta rāgas. A Melakarta rāga is one which has all seven notes in both the ārōhanam (ascending scale) and avarōhanam (descending scale). Some Melakarta rāgas are Harikambhoji , Kalyani , Kharaharapriya , Mayamalavagowla , Sankarabharanam and Hanumatodi . Janya rāgas are derived from
9595-485: The unit of tonal measurement or audible unit as Śruti , with verse 28.21 introducing the musical scale as follows, तत्र स्वराः – षड्जश्च ऋषभश्चैव गान्धारो मध्यमस्तथा । पञ्चमो धैवतश्चैव सप्तमोऽथ निषादवान् ॥ २१॥ These seven degrees are shared by both major rāga system, that is the North Indian (Hindustani) and South Indian (Carnatic). The solfege ( sargam ) is learnt in abbreviated form: sa, ri (Carnatic) or re (Hindustani), ga, ma, pa, dha, ni, sa . Of these,
9696-490: The village so they can be married; Baiju, however, refuses, as he feels he must take revenge against Tansen. At this point, Haridas arrives, and Baiju goes to receive him, once again leaving a crying Gauri behind. Haridas tells Baiju that to be a true singer, he has to feel real pain. Hearing this, Gauri decides to make a venomous snake bite her, thinking that her death would bring enough grief to Baiju that he would defeat Tansen. Baiju sees Gauri's lifeless body and goes mad, with
9797-562: Was "opposed" to the idea of a Hindi film filled with ragas as he feared it would drive the audiences away. But Naushad and Bhatt were adamant to change "public taste" in film music and in Naushad's words "it worked". Naushad's use of classical music in Baiju Bawra helped it become one of the top ten films of the 1950s and is "remembered mostly for its music". The bandish in raga Desi between Amir Khan and D. V. Paluskar, and Khan's "Tori Jai Jai Kar" in raga Puriya Dhanashree constituted
9898-515: Was a musical "megahit" which had a mighty 100-week run in the theatres. Bhatt's decision to make a film based on classical music was met with scepticism by the Indian film industry due to its "lack of mass appeal", but the film and music turned out be an "overwhelming success". The film's music director was Naushad , who had become popular giving folk-based music in films such as Rattan , Anmol Ghadi , Shahjehan (1946) and Deedar (1951). With Bhatt's Baiju Bawra , Naushad introduced
9999-456: Was announced in November 2010. As per the details, it was to be written, directed and produced by American-Indian writer Krishna Shah and big names like Aamir Khan and A. R. Rahman were to come together in this film but eventually, the film was shelved. Narendra Hirawat of NH Studioz held the rights of the film's negative. It has been more than 60 years since Baiju Bawra was released and
10100-496: Was developed, the Indian classical music scholars have developed additional rāgas for all the scales. The North Indian style is closer to the Western diatonic modes, and built upon the foundation developed by Vishnu Narayan Bhatkhande using ten Thaat : kalyan, bilaval, khamaj, kafi, asavari, bhairavi, bhairav, purvi, marva and todi . Some rāgas are common to both systems and have same names, such as kalyan performed by either
10201-403: Was unable to walk, Baiju sings a song that so thrills Haridas that the master gets out of his bed and starts to walk. Gauri, meanwhile, is so distraught over Baiju's departure that she is about to swallow poison. At that point, the princess who had taken Baiju from the village comes to her and tells her that she knows of Baiju's whereabouts. Gauri meets Baiju and tries to convince him to return to
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