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Themusic of Bangladesh spans a wide variety of styles. Historically, Bangladeshi music has served the purpose of documenting the lives of the people and was widely patronized by the rulers. It comprises a long tradition of religious and secular song-writing over a period of almost a millennium.
Bangladeshi classical music is based on modes calledragas. In composing these songs, the melodies of north Indiandingading ragas are used. As far as theCharyagiti (9th century), ragas have been used in Bengali music.Jaydev’s Gitagovindam, Padavali Kirtan, Mangal Giti, Shyamasangit, Tappa, Brahma Sangeet and Tagore songs have been inspired by Ragas. The use of north Indian ragas in Bangla songs began in 18th century.[1] This trend gathered momentum during the 19th and 20th centuries. The pioneers of these trend wereRamnidhi Gupta,Kali Mirza, Raghunath Roy and the founder of theBishnupur Gharana, Ramshanker Bhattacharya.[2] Nawab of Lakhnau,Wajid Ali Shah played an important role in this trend. He was dethroned by theBritish Empire in 1856 and banished to Metiaburuz, Kolkata. During his 30-year exile, he patronized music, speciallydhrupad,tappa,thumri andkheyal. And, thus made a lasting impact on Bangladeshi music.[3] All traditional Bengali music tend to be based on various variations ofHindustani Classical Music.Rabindranath Tagore had a deep appreciation for north Indian ragas, successfully introduced ragas in his songs. He was followed by Dwijendralal Roy,Rajanikanta Sen andAtulprasad Sen.[4][5][6]
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Folk has come to occupy the lives of Bangladeshis almost more than any other genre of Bengali music. Among the luminaries of the different folk traditions areLalon Fokir,Abbasuddin Ahmed,Shah Abdul Karim,Radharaman Dutta,Hason Raja,Khursheed Nurali (Sheerazi),Ramesh Shil and Kari Amir Uddin Ahmed. Folk songs are characterised by simple musical structure and words. Before the advent of radio, entertainment in the rural areas relied on a large extent on stage performances by folk singers. With the arrival of new communication technologies and digital media, many folk songs were modernised and incorporated intomodern songs (Adhunik songeet).
Folk music can be classified into several subgenres:
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Baul is the most commonly known category of Bangladeshi folk songs. It is mostly performed by hermits who are followers ofSufism andVaishnavism in Bangladesh. Present day Sufis earn mainly from performing their music. Baul songs incorporate simple words expressing songs with deeper meanings involving creation, society, lifestyle and human emotions. The songs are performed with very little musical support to the main carrier, the vocal. Instruments used include theEktara ("one-string"),Dotara ("two-strings"), ba(n)shi (country flute made from bamboo) and cymbals.
Rabindra Sangeet (Bengali:রবীন্দ্রসঙ্গীতRobindro shonggit,Bengali pronunciation:[ɾobindɾoʃoŋɡit]), also known asTagore Songs, are songs written and composed byRabindranath Tagore. They have distinctive characteristics in themusic of Bengal, popular inIndia andBangladesh. "Sangeet" means music, "Rabindra Sangeet" means Songs of Rabindra.
Rabindra Sangeet usedIndian classical music and traditionalfolk music as sources.[11]
Nazrul Geeti orNazrul Sangeet, literally "music of Nazrul," are songs written and composed byKazi Nazrul Islam, a Bengali poet and national poet of Bangladesh and active revolutionary during theIndian Independence Movement. Nazrul Sangeet incorporate revolutionary notions as well as more spiritual, philosophical and romantic themes.
Shah Abdul Karim known as "Baul Samrat" or king of baul music, he has composed over 1600 baul songs, some of his notable songs include Keno Piriti Baraila Re Bondhu, Murshid Dhono He Kemone Chinibo Tomare, Nao Banailo Banailo Re Kon Mestori, Ashi Bole Gelo Bondhu and Mon Mojale Ore Bawla Gaan. He referred to his compositions as Baul Gaan. He holds voice against unfairness, injustice, prejudice and communalism through his writings. Karim portraits Bhati area's people love, wish and happiness amid the writings. He got inspiration from another legendary musician Fakir Lalon Shah. Karim wrote many spiritual songs including Marfati or Dehatatta. Bangla Academy has translated ten songs of his in the English language. Karim wrote many spiritual songs including Marfati or Dehatatta. Bangla Academy has translated ten songs of his in English.
Lalon also known asFakir Lalon Shah,Lalon Shah,Lalon Fakir. Lalon composed numerous songs and poems, which describe his philosophy. Lalon left no written copies of his songs, which were transmitted orally and only later transcribed by his followers. Also, most of his followers could not read or write either, so few of his songs are found in written form.
Western style popular music began to influence strongly the music of Bangladesh in the early 1970's. And then several recording studios were established in Dhaka, which produced many pop style songs about national heroes.[12]Ferdous Wahid, who started out as a singer in the early 1970s, said "I wanted to introduce western music in Bangladesh, so after the Liberation War I decided to do pop music for our country’s people".[13]
Azam Khan,Fakir Alamgir, Ferdous Wahid,Pilu Momtaz,Najma Zaman, andFiroz Shai are considered the pioneer who brought the glory to Bangladesh pop music. In particular, Azam Khan is known as the pop-guru or pop-samrat of Bangladesh.[14]
In the genre offilm music, well-known are such singers asSabina Yasmin,Runa Laila,Andrew Kishore and so on. Sabina Yasmin has wonBangladesh National Film Award for Best Female Playback Singer 14 times, and Runa Laila has won the award 7 times. On the other hand, Andrew Kishore has wonBangladesh National Film Award for Best Male Playback Singer 8 times.
Common instruments are:
