The journey of the Hindi film song and playback singing ~ Indian Classical Music

Introduction

As Discussing the journey of the Hindi film song and the evolution of playback singing. This journey closely follows the development of Hindi cinema itself. Film music in India has never existed in isolation. It has always reflected social structure, cultural values, political change, and technological development. Through songs, Hindi cinema has expressed ideas of love, faith, caste, gender, rebellion, and identity. Playback singing played a crucial role in shaping this musical and cinematic language.

Phase one

Silent era, 1913 to 1930

Mythology and moral storytelling

In the silent era, Hindi cinema did not have recorded sound and music onscreen, but music was still central to the film experience. Live musicians accompanied screenings in cinema halls. Most films were based on mythology and religious stories. Raja Harishchandra was the first ever film by Dada Sahab Falke in 1913 as a milestone of Indian cinema history. Even music was not the part of the core cinema and films were mute during silent era however external sources of Music helped audiences emotionally connect with divine characters and moral conflicts. The plot structure during this phase was strongly religious and moral. Caste hierarchy and gender roles were accepted as natural and unquestioned. Women were shown as ideal, pure, and sacrificial figures. Cinema functioned mainly as moral instruction rather than social critique.

Phase two

Talkies and pre independence cinema, 1931 to 1947

Singing stars and social reform

The arrival of sound cinema changed everything. With Alam Ara in 1931, songs became an inseparable part of films. In this period, songs were recorded live, and actors sang their own songs. There was no full playback system yet. Music was influenced by Parsi theatre, folk music, devotional traditions, and Hindustani classical music. Orchestration was simple, using harmonium, tabla, dholak, sarangi and flute. Lyrics were poetic, often written in Urdu /Hindi or better known as Hindustani a influences of Braj, Avadi and Khadiboli with regional touch of Punjab, Rajasthan and Maharashtra.

This period gave rise to singing stars. K L Saigal became the most influential male singer actor. Noor Jehan, Pankaj Mullick, and Kanan Devi were major figures. Composers like R C Boral, Khemchand Prakash, and Saraswati Devi laid the foundation of film music composition.The plot of Hindi cinema expanded beyond mythology. Films like Achhut Kanya addressed caste discrimination and inter caste love. Duniya Na Mane focused on women’s rights and forced marriage. Cinema slowly began questioning social injustice, voice for independence and social revolution. Music became a vehicle for reformist ideas and emotional persuasion. The First playback concept was driven from Bengali from Chandidas 1932, later remake in Hindi in 1934 and finally incorporated in Dhoop Chhao -1935 . Lyrics were poetic, devotional and reform oriented, influenced by Urdu poetry and theatre.Major lyricists: Kidar Sharma, Agha Hashar Kashmiri, Munshi Irshad Hussain. Themes included devotion, suffering, nationalism, caste reform and women’s pain.

Emergence of playback singing

Playback singing emerged gradually during the 1930s and 1940s. The idea came from folk theatre and Parsi theatre, where singers performed backstage while actors lip synced. Films like Chandidas played an important role in formalising playback singing. Playback singing separated the singing voice from the on screen actor. This allowed trained singers to focus on vocal excellence and freed composers creatively. It also introduced new musical professionalism into cinema. Playback singing changed film music permanently and created a new category of artists. The emerging studio, Bombay Talkie, Prabhat Film Company, New Theatres also play a great role in streaming the cinema and playback singing during the period.

Phase three

Golden era, 1947 to early 1960s

Melody, nation building and social faith

After independence, Hindi cinema entered its golden era. The plot of films focused on family values, social reform, moral struggle, and national identity. Films such as Andaz, Awara, Mother India, Pyaasa, Baiju Bawra, Devdas and Mughal e Azam defined this period. Playback singing reached its artistic peak. Lata Mangeshkar became the dominant female voice. Mohammed Rafi, Mukesh, Talat Mahmood and Geeta Dutt shaped the male and female vocal landscape.

Composers like Naushad, Anil Biswas, Roshan and Madan Mohan integrated Hindustani classical ragas into film songs. Baiju Bawra marked a landmark in classical based film music. Religion during this phase became more humanistic and ethical rather than ritualistic. Films promoted secular values. Gender representation improved slightly, with women portrayed as emotionally strong but still confined within patriarchal limits. Caste and class issues appeared through films like Do Bigha Zamin and Mother India. Peak of lyrical poetry with social and humanistic depth. Major lyricists: Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri, Shakeel Badayuni. Themes included love, poverty, class struggle, idealism, secular values and moral questioning.

Phase four

1960s

Ghazal phase, culture and musical liberation and emotional refinement

The early 1960s saw the rise of the filmi ghazal. Madan Mohan became the leading composer of ghazals. Singers like Lata Mangeshkar and Talat Mahmood gave voice to poetic introspection. Films such as Woh Kaun Thi, Mere Mehboob, Taj Mahal and Mamta reflected emotional subtlety. The plot focused on inner conflict, romance and longing. However, this refined style soon felt limited as society. Refined, introspective and romantic lyrics dominated. Major lyricists: Raja Mehdi Ali Khan, Kaifi Azmi. Themes focused on longing, emotional conflict and poetic expression.

With urbanisation and youth culture, Hindi cinema underwent a major shift. The hero transformed into a carefree and expressive figure. Shammi Kapoor symbolised this change. Music became louder, faster and rhythm driven. Shankar Jaikishan, Mohammed Rafi and Shammi Kapoor created energetic musical expressions. Western influences like rock and jazz entered film music. Gender roles also shifted slightly. Heroines became more expressive and visually liberated. Cinema reflected changing ideas of romance and freedom. it was the era of new hope, a charm of the society and the films , music with family drama, love, affection and a kind of social transformation because was India was just free from long colonisation and new hope was seen in the film plot and music of the era.

Phase five

1970s- 80s

Social rebellion and changing musical priorities

The 1970s were dominated by themes of injustice, anger and rebellion. Films such as Zanjeer, Deewar and Sholay reflected political unrest and social imbalance. The social injustice, moral values and new hop was collapse because of visionless politics. The social structured of India was again changes because of rise of Chaudharies and Landlords in politics and the hope given by the independence was slowly disappearing from the civil society. Britisher were replaced by capitalist so Dialogue and action became more important than songs to revolt against such capitalist, however revolutionary songs were composed and part of fil during the period. In another angle , Kishore Kumar emerged as the dominant male voice and His singing style was conversational and emotionally direct. R D Burman became the most influential composer, experimenting with electronic sounds and fusion. Parallel cinema preserved poetic music through films like Aandhi, Parichay and Chhoti Si Baat. Gender issues and class conflicts were addressed more realistically in this space.

Decline of melody and commercial excess

The 1980s are considered a low point for Hindi film music. Formula based compositions, repetitive rhythms and loud orchestration dominated. Melody and lyrical depth declined. The lyrics were Anand Bakshi, Gulzar, Majrooh Sultanpuri, Javeed Akthar who wrote for the film. Some exceptions existed, such as Khayyam’s work and ghazal based films like Umrao Jaan. However, mainstream cinema largely moved away from musical sophistication. Social issues continued to appear, but music lost its narrative strength.

Phase Six

Late 1980s and 1990s

Romantic revival and musical dominance

Romantic films like Qayamat Se Qayamat Tak and Maine Pyar Kiya revived melody and emotional sincerity. Playback singers such as Udit Narayan and Alka Yagnik emerged. Kumar Sanu, Vinod Rathod, Abhijeet , Sonu Nigam, Sadhana Sargam, Anuradha Padwal, Kavita Krishnamurthy , Luck Ali, KK were the prominent singers who sang for the bfilm and make the era romantic. The 1990s restored the musical film. Films like Hum Aapke Hain Kaun, Dil, Kuch Kuch Hota Hai and Dilwale Dulhania Le Jayenge made music central again. Romance, family values and youth culture dominated plots. Gender representation became more expressive, though still idealised. A R Rahman introduced a new musical language combining melody, technology and global sound. Lyricists brought poetry back into popular cinema. Jatin-Lalit, Anand- Miland, Nadim-Shravam and of course LK Pyarelal, Ravi, Bappi Da, Ravindra jain were the music composer who tested something new and later become trends. lyricist like Sameer, Anand Bakshi, prashoon Joshi, Irshad Kamil who wrote for the film and make the romantic genre through literature and poetry.

Phase Seven

2000 onwards

Digital era, realism and spectacle

From the early 2000s onwards, Hindi cinema entered a digital era marked by technological advancement, thematic diversity, and a redefinition of the role of music in films. Unlike earlier decades, where songs often interrupted the narrative, music in this period became closely integrated with the storyline, character psychology, and social context. Songs were increasingly used to move the plot forward, establish ideological positions, or deepen emotional realism rather than serving only as standalone entertainment.

Films such as Lagaan, Rang De Basanti, Rock On, Munna Bhai M.B.B.S. and 3 Idiots demonstrated how music could blend with social awareness, political commentary, youth culture, and urban realism. In these films, songs functioned as narrative tools, expressing protest, friendship, patriotism, inner conflict, and transformation. Music composition during this period saw the dominance of composers who successfully combined melody with modern technology. A. R. Rahman played a central role in redefining Hindi film music by blending Indian classical sensibility with global sounds, electronic programming, and layered orchestration. His work in Lagaan, Rang De Basanti, and later films demonstrated how music could carry ideological depth as well as emotional resonance. Other important composers such as Shankar–Ehsaan–Loy, Pritam, and Vishal–Shekhar* contributed to the expansion of musical styles, incorporating rock, pop, jazz, and electronic dance music while maintaining narrative relevance.

Lyrics in the digital era became more varied in tone and content. Lyricists such as Javed Akhtar, Gulzar, Prasoon Joshi, and Irshad Kamil wrote songs that addressed identity, politics, gender sensitivity, social inequality, and emotional complexity. Lyrics moved fluidly between poetic expression and contemporary language, reflecting urban life as well as regional and cultural diversity.

Playback singing also underwent significant change during this period. Traditional voice based stardom gave way to versatility and texture. Singers such as Sonu Nigam, Shreya Ghoshal, Sunidhi Chauhan, Shaan, Arijit Singh, and Mohit Chauhan became prominent voices. Playback singing became more character specific, with singers adapting vocal colour, diction, and emotional delivery to suit particular roles rather than maintaining a single iconic style. Technological innovation played a decisive role in shaping music production. Digital recording, sound layering, auto tuning, synthesised orchestration, and advanced mixing techniques transformed the soundscape of Hindi cinema. Home studios replaced large recording halls, and background scores gained importance alongside songs. Music also began circulating through digital platforms, changing listening habits and reducing the dominance of film songs as long term cultural memory.

Caste, religion, and politics became more visible and explicit in cinematic narratives during this era. Films such as Article 15, PK, OMG – Oh My God, and The Kashmir Files used music sparingly but purposefully to underline ideological conflict, human suffering, and moral questioning. Music in such films supported narrative realism rather than romantic fantasy. At the same time, large scale spectacle driven cinema emerged strongly. Films such as Ra.One, Baahubali, Brahmastraand Kalki, integrated music with visual effects, grand orchestration, and myth inspired narratives. In these films, background music and theme motifs became as important as songs, enhancing spectacle and emotional scale.

In summary, the digital era transformed Hindi film music into a multifaceted narrative element. Music moved beyond melody driven popularity to become a tool for realism, ideology, spectacle, and emotional depth. Playback singing adapted to character and context, lyric writing reflected contemporary concerns, and technology reshaped production and listening practices. Together, these changes marked a decisive new phase in the journey of the Hindi film song.

Sources: Web, Books and self analysis of the music.

Note : The category/phase is given by Author only for the education purpose only after analysing the music and plot of Hindi Cinema

Indian Classical Music