www.musicbanaras.com

  • Musicbanaras.com is truely focused on E-Resources on Indian Classical Music, Literature and Musicology.

  • Banaras Gharana

  • Kumar Sargam

  • Indian Classical Music

  • Ghat of Banaras

F

Purvanchal Ke Sanskar geet : Music, Culture, and the Identity

Purvanchal is known not only for its rich history, sacred geography, and vibrant languages but also for its remarkable folk traditions. Among these traditions, folk songs occupy a special place because they preserve the emotions, beliefs, customs, and everyday experiences of the people. These songs are more than musical performances. They are living expressions of community life and cultural identity that have been passed from one generation to another through oral tradition. Music has always been an essential part of life in Purvanchal. Every important occasion, whether joyful or emotional, is accompanied by singing. Through these songs, communities celebrate birth, marriage, festivals, seasons, agricultural activities, and even moments of loss. Folk music, therefore, reflects the rhythm of life itself and continues to shape the region's cultural identity.

The Rich Tradition of Folk Songs in Purvanchal

The folk music tradition of Purvanchal is broad and diverse. Different songs are performed according to the occasion, season, occupation, and stage of life. Some of the major forms include Kajri, Chaiti, Hori, Birha, Purbi, Jhumar, Barahmasa, Alha, Sohar, Vivaah Geet, Kajli, Nirgun, Bhajan, Devi Geet, and Sanskar Geet. Each form represents a different aspect of social and cultural life. Seasonal songs such as Kajri and Chaiti celebrate changes in nature and the agricultural cycle. Hori is associated with the festival of Holi, while Birha expresses separation and longing. Nirgun and Bhajan reflect spiritual devotion, whereas Devi Geet are sung during religious ceremonies dedicated to local and Hindu deities. Among all these traditions, Sanskar Geet occupy a unique position because they accompany the important milestones of human life.

What Are Sanskar Geets

Sanskar Songs are traditional songs performed during various life-cycle ceremonies. They transform religious rituals into shared cultural experiences by bringing together family members, relatives, neighbours, and the wider community. Rather than being formal performances, these songs are sung collectively and naturally as part of everyday social life. The tradition begins with the birth of a child and continues through different stages of life until death. Every important ceremony has its own musical identity, making Sanskar Songs an inseparable part of the cultural life of Purvanchal. These songs preserve not only melodies but also memories, relationships, values, and local knowledge that have been passed down through generations.

Major Types of Sanskar Geet

The journey of Sanskar Geet begins with Sohar, which is sung to celebrate a child’s birth. These songs express happiness, gratitude, blessings, and hopes for the newborn's future. Closely related to Sohar is Badhai Geet, which celebrates the arrival of a new member of the family through joyful singing and playful interaction. The Mundan ceremony is accompanied by songs that bless the child with health, prosperity, and a bright future. Similarly, the Janeu or Yajnopavita ceremony includes songs that emphasise learning, discipline, knowledge, and social responsibility.

Marriage is the richest stage in the Sanskar tradition and encompasses numerous song forms performed across various rituals. These include Mangal Geet, Devi Geet, Sagun, Tilak Geet, Haldi Geet, Matkor, Madwa, Lava, Sindurdan, Kohbar, Chumawan, Parichhan, Imli Ghotai, Manar Pujai, Vidai Geet, and later Gauna Geet. Each reflects a different emotional and ceremonial moment, ranging from celebration and humour to affection, blessings, and farewell. Certain devotional songs and ritual laments are associated with death ceremonies. These compositions help families express grief while also conveying the belief that life continues beyond physical existence.

Music That Connects Communities

One of the most remarkable features of Purvanchal Sanskar Geet is their musical simplicity. Their melodies are easy to sing, allowing people of all ages to participate. Most songs are performed collectively, with one experienced singer leading while others respond together. This style creates a sense of unity and strengthens social relationships. Traditional rhythmic patterns such as Keharwa, Dadra, and Deepchandi are commonly heard in these songs. Musical accompaniment is generally limited to Dholak, Manjira, and hand clapping, ensuring that the focus remains on collective participation rather than technical performance. In these traditions, emotional expression is valued more than musical perfection.

The Voice of Culture and Identity

Sanskar Geet are much more than ritual music. They preserve the cultural identity of Purvanchal by documenting the region's customs, beliefs, language, and values. Through these songs, people learn about family relationships, respect for elders, community cooperation, and the importance of shared traditions. The songs also preserve Bhojpuri and other regional dialects, which carry local expressions and cultural meanings that cannot easily be translated into other languages. They serve as a living archive of oral literature and demonstrate how music helps preserve language and identity together.

Women have played the central role in keeping this tradition alive. For centuries, mothers, grandmothers, and elderly women have passed these songs to younger generations through participation rather than formal teaching. Their voices preserve family history, emotional experiences, and social knowledge that often remain absent from written records. In this way, Sanskar Geet also represent an important archive of women's cultural heritage.

Challenges in the Modern World

Like many oral traditions, Sanskar Geet face several challenges today. The growth of nuclear families has reduced opportunities for younger generations to learn songs from elders. Urbanisation and migration have changed family life, while recorded music and DJs have replaced traditional singing in many ceremonies. The declining use of regional languages has further weakened the connection between young people and their musical heritage. Despite these challenges, the tradition has not disappeared. Many families in rural Purvanchal, as well as migrant communities living in other parts of India and abroad, continue to perform these songs during important ceremonies. Their continued practice demonstrates the resilience of cultural traditions even in changing social conditions.

Preserving a Living Heritage

The future of Sanskar Geet depends on both community participation and systematic documentation. Recording performances, preparing written collections, creating digital archives, and encouraging research in universities can help preserve this valuable tradition. Schools and higher education institutions can also introduce regional folk music into their curricula, helping students understand the cultural significance of their local heritage. Digital platforms, online archives, podcasts, and audio-visual documentation provide new opportunities to make these traditions accessible to younger generations. At the same time, preservation should not remain limited to archives. The songs must continue to be sung during family and community ceremonies, because living traditions survive through practice rather than documentation alone.

Conclusion

Purvanchal’s Sanskar Geet are among the most valuable expressions of India's folk heritage. They combine music, language, ritual, memory, and community into a single cultural tradition that has shaped the region’s identity for centuries. From the joyful celebration of birth to the emotional farewell of marriage and the philosophical acceptance of death, these songs accompany every important stage of life. Preserving Sanskar Geet means preserving much more than music. It means protecting the cultural memory, linguistic richness, social values, and collective identity of Purvanchal. As long as these songs continue to be sung, they will remain a living bridge between the past, the present, and the future.

Share:

Call for book chapters Rasa theory in contemporary performance: Reinterpreting indian aesthetics

 

Call for book chapters

Rasa theory in contemporary performance:
Reinterpreting indian aesthetics

Last date of submission

15th July 2026

About the book

Rasa Theory in Contemporary Performance: reinterpreting indian aesthetics is an edited scholarly volume that critically re-examines the classical indian theory of rasa in the context of contemporary performing arts. The book aims to establish a meaningful dialogue between ancient Indian aesthetic thought and present-day performance practices. It explores rasa not merely as a historical doctrine but as a living and evolving aesthetic philosophy shaping contemporary music, dance, theatre, instrumental traditions, and folk performance forms.

This volume invites analytical and critically engaged scholarship that reinterprets rasa within modern artistic, philosophical, and performative contexts.

Advisory committee

Prof. Dr. Dr. Dr.Wolfgang Mastnak, Germany

Prof. Ravikesh Srivastava, Vice Chancellor, Vijaybhoomi University
Prof. Ravi Sharma, Ex Dean, MDU Rohtak (Proposed )
Dr. Surendra Kumar, Associate Professor, Allahabad

Editor

Dr. Kumar Sargam. India
Dr. Navpreet Kaur, Italy

Co editor

Professor Dr. Dr. Dr. Wolfgang Mastnak, Germany

Submission guidelines

Minimum word limit: 3000 words
Longer chapters with substantial research depth are welcome
Font Times New Roman size 12, including titles and subtitles
Referencing style APA 7th edition or the latest version
Proper citation and bibliography are mandatory
Chapters without references will not be considered
Turnitin plagiarism report required with a similarity below 10 percentage
Author details must include full name, institutional affiliation, and a brief bio note
All submissions will undergo rigorous peer review and academic quality assessment

Scope and focus

Scholars, researchers, and practitioners are invited to submit original research based chapters engaging with rasa and its associated aesthetic dimensions.

Themes may include:

Rasa and human aesthetic consciousness
Rasa, emotion, and psychology
Rasa and mental health
Rasa in the age of artificial intelligence
Rasa and cross cultural aesthetics
Rasa in hindustani and carnatic music
Rasa in kathak, bharatanatyam, and theatre
Rasa in instrumental and folk traditions
Contemporary reinterpretations of bharata
Reassessment of sthayi bhava, vibhava, anubhava, and sanchari bhava
Comparative and interdisciplinary perspectives
New theoretical frameworks for understanding rasa in the 21st century

Analytical and critically grounded contributions with strong conceptual and methodological clarity are highly encouraged. Innovative and deeply researched interdisciplinary chapters are welcome with no restriction, provided they are meaningfully connected to rasa and aesthetics.

Editorial note

This edited volume, rasa theory in Contemporary Performance: reinterpreting indian aesthetics, is guided by an interdisciplinary editorial vision that seeks to re-examine the classical indian theory of rasa in relation to contemporary artistic and intellectual discourse.

The volume is edited by Dr. Kumar Sargam and Dr. Navpreet Kaur Italy, whose academic engagement with indian aesthetics, musicology, and performance studies has inspired the conceptual framework of this project. Along with them, the volume is co edited by Professor Dr. Dr. Dr. Wolfgang Mastnak Germany, whose interdisciplinary scholarship in music aesthetics, psychology, and music therapy provides an important perspective for understanding the relevance of aesthetic experience in contemporary society.

Publication details

The book will be published under a reputed academic publisher with an ISBN number
There are no publication charges upon acceptance of the chapter
Book cost is as per MRP and publisher guidelines

Contact

Editor :

Dr. Kumar Sargam
kukusa221@gmail.com
www.musicbanaras.com


Share:

Shifting Paradigms of Tribal Music in India

 


Tribal music in India has long functioned as a vital expression of cultural identity, social structure, and collective memory. Rooted in rituals, festivals, and agrarian life, it has served as a medium through which communities transmit knowledge, values, and traditions across generations. Unlike formalised musical systems, tribal music is primarily oral, participatory, and context-driven, reflecting the lived experiences of indigenous communities. However, in recent decades, these traditions have undergone significant transformation due to broader processes of social and cultural change.

Contemporary research in anthropology and cultural studies highlights that tribal societies are not isolated or static, but dynamic and continuously evolving. Social change has become an inherent aspect of tribal life, requiring communities to negotiate between their indigenous traditions and external influences. As noted in studies on tribal transformation, the integration of tribal groups into regional, national, and global systems has altered their cultural practices, including music. This transformation is not merely a loss of tradition but a process of adaptation and reconfiguration. One of the primary drivers of this shift is modernisation. The transition from subsistence-based economies to market-oriented systems has reshaped the socio-economic fabric of tribal communities. Traditional contexts of musical performance, such as agricultural cycles and communal gatherings, are gradually diminishing. As a result, music that once emerged organically from daily life is increasingly being relocated to staged performances, institutional platforms, and cultural exhibitions, often detached from its original meaning. Migration has further accelerated these changes. Economic pressures and employment opportunities have led to increased mobility among tribal populations, exposing them to diverse cultural environments. This has resulted in the adoption of new musical styles, instruments, and forms of expression. While such interactions foster cultural exchange, they also contribute to the weakening of localised traditions, as younger generations show a greater inclination towards contemporary and globally influenced music.

The expansion of digital media and the commercialisation of music have also had a profound impact. Modern platforms prioritise standardised, high-production content that appeals to wider audiences. In contrast, tribal music, which relies on oral transmission and community participation, often lacks visibility in such spaces. Consequently, traditional instruments and performance practices face the risk of marginalisation and gradual disappearance.Economic challenges further compound this situation. Traditional musicians frequently lack sustainable sources of income, and the decline of community-based patronage has reduced support for their art. Without institutional mechanisms for preservation and promotion, many practitioners are unable to continue their musical traditions. At the same time, there is a growing awareness of cultural identity among tribal communities, leading to efforts to revive and preserve it. These initiatives reflect a conscious attempt to reclaim cultural heritage in the face of rapid change.

In conclusion, the shifting paradigms of tribal music in India illustrate a complex interplay between tradition and modernity. While processes such as modernisation, migration, and globalisation have transformed musical practices, they have also created new possibilities for adaptation and innovation. The challenge lies in ensuring that these transformations do not erode cultural heritage. Sustainable approaches that combine documentation, education, and community participation are essential to preserve the essence of tribal music while enabling its continuity in a changing world.

Share:

Punjab Folk Music in Transition: A Cultural Analysis

 


The musical traditions of Punjab have historically been embedded within the socio-cultural and agrarian life of the region, functioning as integral modes of expression, communication, and identity formation. Folk genres such as gidda, mahiya, and tappay, along with instruments like tumbi and jodi, have traditionally reflected the rhythms of rural life, seasonal cycles, and community rituals. These musical forms were sustained through oral transmission and collective participation, thereby ensuring continuity across generations. Scholarly perspectives on tribal and folk cultures in India suggest that such traditions should not be understood as static or isolated entities, but as dynamic systems that evolve through historical interactions, socioeconomic changes, and cultural exchanges. In this context, the transformation of Punjabi musical traditions may be examined as part of a broader process of cultural negotiation shaped by migration, globalisation, and institutional shifts.

One of the central factors influencing the transformation of Punjabi folk music is the extensive migration of Punjabi populations to Western countries, particularly Canada, the United States, and the United Kingdom. This diasporic movement has led to the reconfiguration of Punjabi musical identity within transnational contexts. Research on Punjabi music indicates that diasporic communities often engage with music as a marker of identity, while simultaneously adapting it to global musical frameworks. This has resulted in the emergence of hybrid genres that integrate traditional Punjabi elements with contemporary forms such as hip hop, rap, and electronic music. While such developments have contributed to the global dissemination and commercial success of Punjabi music, they have also shifted its orientation from community-centred practices to industry-driven production models. Parallel to this outward migration, Punjab has experienced significant inward migration from states such as Bihar, Uttar Pradesh, West Bengal, Himachal Pradesh, and Kashmir, particularly in the sectors of agriculture, industry, and labour. This demographic transformation has generated a pluralistic cultural environment, yet it has also contributed to the gradual weakening of localised folk practices that were previously sustained within relatively homogeneous community settings. The role of education and language in shaping cultural preferences constitutes another critical dimension of this transformation. The increasing prominence of English medium education in Punjab has influenced linguistic practices and cultural affiliations, particularly among younger generations. Language being central to musical expression, the shift towards English as a medium of aspiration and mobility has had implications for the transmission of Punjabi folk traditions. Empirical observations indicate a declining engagement with Punjabi language-based musical forms, resulting in reduced intergenerational continuity. Furthermore, the expansion of digital media and global music industries has facilitated the rapid growth of Punjabi popular music, characterised by high production values, electronic instrumentation, and global stylistic influences. While this has enhanced visibility and economic viability, it has simultaneously marginalised traditional musical forms that are rooted in oral traditions and community participation. The decline of traditional instruments and performance practices represents a significant outcome of these structural changes. Instruments such as the tumbi and jodi, once central to Punjabi folk expression, are increasingly absent from contemporary musical practice, and performance traditions such as gidda and mahiya are largely confined to staged or institutional contexts. This phenomenon aligns with broader patterns observed in indigenous musical traditions across India, where modernisation, urbanisation, and limited institutional support contribute to the erosion of intangible cultural heritage. Studies on indigenous music revival in regions such as Jharkhand emphasise that music functions as a repository of collective memory, identity, and social resilience, and its decline signifies a deeper process of cultural disconnection. Additionally, the economic marginalisation of traditional musicians, coupled with the decline of community-based patronage systems, has reduced the viability of sustaining folk musical practices. The dominance of industry-produced music and instruments further constrains the ability of traditional practitioners to adapt to contemporary market structures.

In conclusion, the transformation of Punjabi musical traditions reflects a complex interplay of migration, globalisation, educational shifts, and economic restructuring. While contemporary Punjabi music has achieved significant global prominence through diasporic networks and digital platforms, traditional folk practices face challenges related to continuity, relevance, and sustainability. The analysis indicates that the erosion of these traditions is not merely a cultural concern but also a reflection of broader socio-economic transformations. Therefore, there is a need for systematic and evidence-based interventions, including documentation, academic integration, and policy support, to ensure the preservation and revitalisation of Punjabi folk music. Drawing upon models of indigenous music revival that emphasise community participation, institutional collaboration, and sustainable livelihood frameworks, it may be possible to create pathways that allow traditional musical practices to coexist with modern innovations. Such an approach would contribute to maintaining cultural diversity while enabling adaptive transformation within the contemporary musical landscape.

Share:

The journey of the Hindi film song and playback singing

 

Introduction

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 film by Dadasaheb Phalke in 1913, a milestone in Indian cinema history. Even though music was not part of the core cinema, and films were mute during the silent era, 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. During this period, songs were recorded live, and actors sang their own. 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, better known as Hindustani, with influences from Braj, Avadi, and Khadiboli, and a regional touch from 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 to question social injustice, becoming a voice for independence and social revolution. Music became a vehicle for reformist ideas and emotional persuasion. The First playback concept was driven by Bengali songs from Chandidas (1932), later remade in Hindi in 1934, and finally incorporated into 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 to be more creative. It also introduced new musical professionalism into cinema. Playback singing changed film music permanently and created a new category of artists. The emerging studios  Bombay Talkies, Prabhat Film Company, and New Theatres also played a significant role in shaping 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 were explored in films like Do Bigha Zameen 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 changed. 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 society and the films, music with family drama, love, affection and a kind of social transformation because 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. Social injustice, moral values, and new hope collapsed due to visionless politics. The social structure of India was once again changed by the rise of Chaudharies and Landlords in politics, and the hope given by independence was slowly disappearing from civil society. The British were replaced by capitalists, so Dialogue and action became more important than songs to revolt against such capitalists; however, revolutionary songs were composed and featured in films during the period. From 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 by Anand Bakshi, Gulzar, Majrooh Sultanpuri, and Javeed Akhtar, 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 persisted, 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, and KK were the prominent singers who sang for the film and made 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 that combines melody, technology, and global sound. Lyricists brought poetry back into popular cinema. Jatin-Lalit, Anand-Milind, Nadim-Shravan, and, of course, L.K. Pyarelal, Ravi, Bappi Da, and Ravindra Jain were the music composers who tested something new and later became trends. Lyricists like Sameer, Anand Bakshi, Prasoon Joshi, and Irshad Kamil wrote for the film and made the romantic genre  their own 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 advance the plot, establish ideological positions, or deepen emotional realism rather than serving solely as standalone entertainment.

Films such as LagaanRang De BasantiRock OnMunna 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 was dominated by 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 LagaanRang De Basanti, and later films demonstrated how music could carry ideological depth as well as emotional resonance. Other important composers such as Shankar–Ehsaan–LoyPritam, 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 AkhtarGulzarPrasoon 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 NigamShreya GhoshalSunidhi ChauhanShaanArijit 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 15PKOMG – 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.OneBaahubaliBrahmastra, and 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 the author only for educational purposes after analysing the music and plot of Hindi Cinema 

Share:

Ad Code

Responsive Advertisement

Popular Posts

Home Ads

Home Ads

Translate