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. The poor Ganges boatman and the rich landlord air their emotions in them. The poet gave voice to all-big or small, rich or poor. Dhan Gopal Mukerji has said that these songs transcend the mundane to the aesthetic and express all ranges and categories of human emotion. It is said that his songs are the outcome of five centuries of Bengali literary churning and communal yearning. His songs are widely popular and undergird the Bengali ethos to an extent perhaps rivalling Shakespeare's impact on the English-speaking world. Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan. Problems playing this file? See media help. The song was written in 1887 CE (1294 Bengali year). 'Tabu Mone Rekho', a song by Tagore, sung in his own voice. Paraj conveyed to him the deep slumber that overtook one at night's end. In bhupali he seemed to hear a voice in the wind saying 'stop and come hither'. The pathos of the purabi raga reminded Tagore of the evening tears of a lonely widow, while kanara was the confused realization of a nocturnal wanderer who had lost his way.

Scholars have attempted to gauge the emotive force and range of Hindustani ragas: 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'). 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 Tagore's own ancestral culture. Some songs mimicked a given raga's melody and rhythm faithfully others newly blended elements of different ragas. They emulated the tonal color of classical ragas to varying extents. 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. Rabindra Sangeet merges fluidly into Tagore's literature, most of which-poems or parts of novels, stories, or plays alike-were lyricised. The Bhanushingher Podaboli songs are based on his own life experiences and happenstance. 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.The Rabindrasangeet contains various sections or 'parjay' such as 'prem','prakriti','bhanusingher podaboli',etc. Lyrics and music both hold almost equal importance in Rabindra Sangeet. 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. and is filled with expressions of romanticism. It is characterised by its distinctive rendition while singing which includes a significant amount of ornamentation like meend, murki, etc. Dance accompanied by Rabindra Sangeet, at Science City auditorium in Kolkata.

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