A refrain (from Vulgar Latin refringere , "to repeat", and later from Old French refraindre ) is the line or lines that are repeated in music or in poetry —the " chorus " of a song . Poetic fixed forms that feature refrains include the villanelle , the virelay , and the sestina .
22-531: Pyaar Kiya To Darna Kya is a Hindi-Urdu phrase meaning "I have loved, so what is there to fear?". It may refer to: " Pyar Kiya To Darna Kya ", a song from the Indian film Mughal-e-Azam (1960) Pyaar Kiya To Darna Kya (1963 film) , directed by B. S. Ranga and starring Shammi Kapoor Pyaar Kiya To Darna Kya (1998 film) , directed by Sohail Khan and starring Salman Khan, Kajol and Arbaaz Khan Topics referred to by
44-883: A chorus singing the refrain (the titular "Pyar Kiya Toh Darna Kya" ). The song "Pyar Kiya To Darna Kya" was filmed in a set inspired by the Sheesh Mahal of the Lahore Fort , in the Mohan Studios. The particular set was noted for its size, which measured 150 feet in length, 80 feet in breadth and 35 feet in height. A heavily discussed aspect of the set was the presence of numerous small mirrors made of Belgian glass, which were crafted and designed by workers from Firozabad . The set took two years to build and cost more than ₹1.5 million ( $ 320,000 ), equivalent to $ 3 million ( ₹220 million ) adjusted for inflation. The sequence cost more than ₹ 1 million to execute,
66-481: A derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree." These suggestions remain controversial. There are two distinct uses of the word "chorus". In the thirty-two bar song form that was most common in the earlier twentieth-century popular music (especially the Tin Pan Alley tradition), "chorus" referred to the entire main section of
88-472: A higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form , is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. Although repeats of refrains may use different words, refrains are made recognizable by reusing the same melody (when sung as music) and by preserving any rhymes . For example, " The Star-Spangled Banner " contains
110-454: A price higher than the budget of an entire film at that time. The high cost increased fears that the financiers of the film would face bankruptcy. It was the most expensive Indian music video up until then, and remained the most expensive for decades. Refrain In popular music, the refrain or chorus may contrast with the verse melodically , rhythmically , and harmonically ; it may assume
132-511: A recurring line of identical text and melody which is part of a formal section—an A section in an AABA form (as in " I Got Rhythm ": "...who could ask for anything more?") or a verse (as in " Blowin' in the Wind ": "...the answer my friend is blowing in the wind")—whereas 'chorus' shall refer to a discrete form part (as in " Yellow Submarine ": "We all live in a..."). According to the musicologists Ralf von Appen and Markus Frei-Hauenschild In German,
154-535: A refrain which is introduced by a different phrase in each verse, but which always ends: O'er the land of the free, and the home of the brave. A similar refrain is found in the " Battle Hymn of the Republic ", which affirms in successive verses that "Our God", or "His Truth", is "marching on." Refrains usually, but not always, come at the end of the verse. Some songs, especially ballads , incorporate refrains (or burdens ) into each verse. For example, one version of
176-477: A single iteration of the entire 32 bars of the AABA form, especially among jazz musicians, who improvise over multiple repetitions of such choruses." In jazz, an arranger's chorus is where the arranger uses particularly elaborate techniques to exhibit their skill and to impress the listener. This may include use of counterpoint , reharmonization , tone color , or any other arranging device. The arranger's chorus
198-409: A vocal rendition in the classical style by noted classical singer of the time, Bade Ghulam Ali . His part in the song is meant to represent the voice of Tansen , one of Akbar's Nine Jewels , considered to have had the ability to bring rain from the sky and light candles in the dark with his singing. This rendition is followed by a solo by Lata Mangeshkar, composed as an ode by the lead character in
220-400: Is different from Wikidata All article disambiguation pages All disambiguation pages Pyar Kiya To Darna Kya " Pyar Kiya To Darna Kya " ( transl. Why fear when in love? ) is a song from the 1960 Hindi film Mughal-e-Azam , directed by K. Asif . The song is composed by Naushad , written by Shakeel Badayuni , and sung by Lata Mangeshkar with a chorus . It
242-579: Is generally not the first or the last chorus of a jazz performance. In jazz, a shout chorus (occasionally: out chorus ) is usually the last chorus of a big band arrangement, and is characterized by being the most energetic, lively, and exciting and by containing the musical climax of the piece. A shout chorus characteristically employs extreme ranges , loud dynamics , and a re-arrangement of melodic motives into short, accented riffs. Shout choruses often feature tutti or concerted writing, but may also use contrapuntal writing or call and response between
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#1732791249113264-414: Is picturised on Madhubala , who plays the role of the beautiful courtesan Anarkali in the film. It is shot in technicolour . The composition of "Pyar Kiya To Darna Kya" was especially time-consuming – on the day of the song's recording, Naushad rejected two sets of lyrics made by Shakeel Badayuni . Subsequently, a "brainstorming session" was held on Naushad's terrace, beginning in the early part of
286-563: Is repeated in every iteration. In this usage, the refrain does not constitute a discrete, independent section within the form. Many Tin-Pan Alley songs using thirty-two bar form are central to the traditional jazz repertoire. In jazz arrangements the word "chorus" refers to the same unit of music as in the Tin Pan Alley tradition, but unlike the Tin Pan Alley tradition a single song can have more than one chorus. Von Appen and Frei-Hauenschild explain, "The term, 'chorus' can also refer to
308-456: The evening and lasting until next day. Late in the night, Naushad remembered a folk song from eastern Uttar Pradesh with the lyrics going as "Prem kiya, kya chori kari hai..." ("I have loved, does it mean that I have stolen?"). The song was converted into a ghazal and subsequently recorded. It was also one of Lata's Urdu songs, which she had sung after taking Urdu lessons to [ sic ] improve her diction. The song starts with
330-530: The film, Anarkali, to the Prince for whom she declares her love. She does this in front of the King and the whole court, knowing well enough that the king is opposed to their love and such an open declaration might be considered as rebellion. In many lines of the song, the courtesan taunts the great emperor by repeatedly declaring her refusal to hide her true feelings even in the face of likely death. The song ends with
352-580: The heart's desire: All Love's lordship lay between, A sheen on the breasts I Love. O Troy's down, Tall Troy's on fire! . . . Phrases of apparent nonsense in refrains ( Lay the bent to the bonny broom? ), and syllables such as fa la la , familiar from the Christmas carol " Deck the Halls with Boughs of Holly", have given rise to much speculation. Some believe that the traditional refrain Hob
374-611: The melody and the refrain come from the ballad known as " Riddles Wisely Expounded " (Child #1). ) Here, the refrain is syntactically independent of the narrative poem in the song, and has no obvious relationship to its subject, and indeed little inherent meaning at all. The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti 's "Troy Town": Heavenborn Helen, Sparta's queen, O Troy Town! Had two breasts of heavenly sheen, The sun and moon of
396-443: The same term [REDACTED] This disambiguation page lists articles associated with the title Pyaar Kiya To Darna Kya . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Pyaar_Kiya_To_Darna_Kya&oldid=1250915748 " Category : Disambiguation pages Hidden categories: Short description
418-459: The song (which was in a thirty-two bar AABA form). Beginning in the rock music of the 1950s, another form became more common in commercial pop music, which was based in an open-ended cycle of verses instead of a fixed 32-bar form. In this form (which is more common than thirty-two bar form in later-twentieth century pop music), "choruses" with fixed lyrics are alternated with "verses" in which the lyrics are different with each repetition. In this use of
440-455: The term, "Refrain," is used synonymously with "chorus" when referring to a chorus within the verse/chorus form. At least one English-language author, Richard Middleton, uses the term in the same way. In English usage, however, the term, »refrain« typically refers to what in German is more precisely called the »Refrainzeile« (refrain line): a lyric at the beginning or end of a section that
462-601: The traditional ballad " The Cruel Sister " includes a refrain mid-verse: There lived a lady by the North Sea shore, Two daughters were the babes she bore. As one grew bright as is the sun, So coal black grew the other one. (Note: the refrain of "Lay the bent to the bonny broom" is not traditionally associated with the ballad of "The Cruel Sister" ( Child #10). This was the work of 'pop-folk' group Pentangle on their 1970 LP Cruel Sister which has subsequently been picked up by many folk singers as being traditional. Both
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#1732791249113484-408: The word, chorus contrasts with the verse, which usually has a sense of leading up to the chorus. "Many popular songs, particularly from early in this century, are in a verse and a chorus ( refrain ) form. Most popular songs from the middle of the century consist only of a chorus." While the terms 'refrain' and 'chorus' often are used synonymously, it has been suggested to use 'refrain' exclusively for
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