Musical Change in Bangladesh

Topics: Bengal, Bangladesh, Kazi Nazrul Islam Pages: 5 (1540 words) Published: December 7, 2012
“Music and rhythm find their way into the secret places of the soul...” -- Plato


Music is an art form whose medium is sound, passes through the ears in human body & directly reaches the heart. Common elements of music:
1. pitch : which governs melody and harmony,
2. rhythm: associated concepts tempo, meter, and articulation, 3. dynamics,
4. The sonic qualities of timbre and texture.
The word derives from Greek μουσική (mousike), "(art) of the Muses". Greek philosophers and ancient Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies.

Self observation: Music
But we, Authentic group found music as reflection of society which can describe its culture, norms, values & way of living.

Music also can define the mental state of human being. When a person decide to listen a music selection of music defines his mental state whether it’s fresh or gloomy.

Bangle music: Ancient Song Forms:
Although no transcriptions exist of Bengali music prior to the nineteenth century it is possible to delineate particular forms of vocal music from the texts of ancient Bengali poems and from melodies preserved through oral transmission. Twelfth-century Buddhist poems called charya-giti (religious observance songs) and the thirteenth-century Gitagovinda (Songs of the Cowherder), a cycle of songs by the poet Jayadeva, bear the names of the specific melodic modes assigned to each song. Hindu and Buddhist kings in Bengal commissioned poets to compose raso, epic poems, in their honor, which were chanted by the poet-composers themselves. These royal patrons also commissioned poets to render into Bengali verse the great Sanskrit epics from Indo-Aryan literature, such as the Mahabharata, the Ramayana, and other mahakabya ("great poems"). The poetic meter employed in the Bengali versions of these epics is reflected in present-day Bengali folk ballads. By analogy, it is likely that the melodies of ballads heard in the twenty-first century are descendants of raso and mahakabya minstrel songs. By the sixteenth century the flowering of various Hindu and Islamic cults, each possessing its own kind of songs, had enriched Bengali music. The Hindu Vaishnava sect developed kirtan (songs of praise) that focused on the god Krishna. During Turkic and Mughal rule Muslim Sufi missionaries from the Middle East introduced their genres of spiritual songs. By the eighteenth century mendicant minstrels called Bauls combined Vaishnava and Sufi themes with their own spiritual ones.

• Self observation: change in ancient songs:
From the ancient times, music documented the lives of the people and was widely patronized by the rulers. From twelfth century to eighteenth century, the change took place in the area of music with the change of society (Hindu, Buddhist, Muslim etc) Bangle music in ancient times was mostly linked to prayer. Due to the immense influence of Hindu mythology, most folk songs are related to some sort of praise of the gods and their creation. • Bangle Music: The origin of Bangladesh

Before the end of British rule in India in 1947, the land that is now Bangladesh formed an eastern subdivision of the region known as Bengal. Consequently Bangladeshis and their West Bengali neighbors in India share most of their cultural heritage, language, and ancient history. In 1947 western Bengal, with its majority population of Hindus, became part of India, while eastern Bengal, with its largely Muslim population, became the eastern "wing" of the nation of Pakistan. In 1971 Bangladesh (Bengal-land) became independent from Pakistan. In the twenty-first century Bangladeshi culture continued to be predominantly Islamic, but its roots remained embedded in its Hindu and Buddhist past.

• Bangle Music: Songs of Freedom fight
The history of Bangladeshi music started from 1971, as she got independent identity on that year....
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