NAZRUL’S CREATION IN THE FIELD OF MUSIC
Nazrul's creation in the field of Music about the subject
of it and the reason of the proposed research work and tradition is herewith
discussed in the following:
Introduction : Tow of directive poet, lyrics and tuner in
the field of Bengali Literature and Culture Rabindranath and Nazrul. In the
first life, Rabindra Nath was created of which Brahma Music of those tuning
structure were the manner of Hindustani Dhrupad. In later period was created
some of the South Indian Karnatak Bishnupuri type of classical song and was
created some of the foreign and country wise songs and except those, for
creating of own music, he was followed for more of Dhrupadi style. There is the
absolute cause of it. But this explanation is not necessary here. Creating of
own music, Nazrul Islam was followed about the North Indian Classic, Thumri,
Tappa, Gajal etc. style. If we pay our attention in many of peculiar pose and
luster music of Nazrul and even if we pay our attention to some of poetry poem
base Music in slightly, it will be easily under-stand, what kind of mindful
affection was he to the classic Thumri. Stability of the soul covered with tone
in the play of tone, in the visit of tone and over come of normal stability,
but reached to an exclusive position, their comes it to reach of the audiences
to a miracle world.
v
Information Collection: Different Library, Famous Artist Like Anup Ghosal,
Ajoy Chakraborty, Dipali Nag and in the same period of India, the Nazrul
Scholar and Dr. Mosharaf Shabnab of Bangladeh. Sudhin Das and after discussed
with more other Nazrul Scholar and will be collected about the information and
data. From the received information of different Nazrul collection source of India and the
previous time Gramophone of Nazrul will
be collected about the information and data. Besides, from the collected source
of Churulia Village of Burdwan District and from the Department of Music of
different Universities of India will be collected of the information and date.
Filed work will be completed as able to make it with the limitation of time.
Reasonable fact of the proposed research work: If we pay our attention in
many of peculiar pose and luster of music of Nazrul and even if we pay our
attention in slightly to some poetry. Poem base music what kind of mindful
affection was he to the classic Thumri. Stability of tone in classical music in
the soul covered with tone, in the play of tone, in the visit of tone and over
come of normal stability, but reached to and exclusive position, there makes it
to reach of the audiences to a miracle world. The singing process of it is as
like of Dhrupad by the culture of all the relevant rules and tied with the
same. Even one of the person of Dhrupadia be
Page-2
wanted to deliver a song for about one hour- this
period of one hour will be kept in the music code and without free of
distribution and will be treated a deviation to here and there. But in the
classical music, the up and down follower would also be obeyed about the
relevant rules. Being any kind of influence, the artist be set up the opposite
tone and be able to do by it, then he/she would, not be holder of his/her bad
names, rather he/she would be received praise if it be come to the ear of the
tone experience people. He/She would be told, “How nicely have set up the Tone”
for the case of Thumri, as there is no rule to follow of the master rule.
Singing process is separately. In any tone like the classic, long time presence
of tone is the opposite of different type of Thumri, we do some times fell to
the style of a moving person with dis-courage version, “see the people is
moving like a Thumri Style”. Activity of a Thumri is such like of life
flooding. The tone of an ordinary artist and with the breaker tone does bring a
situation of full confirmation. The conduct of the Thumri is the gradually
result of Dhrupad, Classic, Thumri, Tappa, Gajal, Kawaali, Dadra, Dadra
Principal and such like of Indian music. To expand of the classical Thumri and
freedom of the tone to play with free-style was attracted by the Nazrul. This
attraction Thumri is like more positive to the style of singing tone. In a word
in the Indian scripture music is called to whose Rage Music and Nazrul
attracted the absolute tone ideality. In different manner and creating of own
music in sorting of tone, there was spread out of its influence. I hereby
mentioned for the synthesis of some f the rages of the music as for example.
“Abar ki elo re badal”?
joy-joyantri Mishra:
“Nayan Mudelo Kumudini Chay” Tori, “Nayan Bhara jal
go tomar Achal Bhara Fool” Bagesree, Bharia Paran karitechi gan – behag
Basanta, Sandha Nemeche – Amar bijan ghare taba grihe jaale bati – Iman Mishra,
Bhorer Hawya Dhire Bahu
Dhire-Bhairabi, Bidaya Sandha Achilo – as above Bhim
Palashis.
In it, as there is little touch to some of the
formality tone, but mainly these kind of music are needed to establish the
rages.
Gajal, Gajal –Thumri, Dadra, with the combination of
three group of Mr. Kazi and creating one other group of song creating of tone,
which was extremely extended about Rage – music, some of the specimen example
has been given below:
Page-3
“Bagichay Bulbuli Teu Fool shakhate dishne aji dool
– Bhainabi, Nishi Bhol Hal. jugia-Bhairabi, keu Bhoena, kew Bhole atit diner
smriti- Mandu Mishra, charite paran nahi chay – Khambaj joy jayanti,
Musafir Mochre Akhi jal
Jaal Baroa Mishra
Gajal where Nazrul :
Gajal is one kind of poem-poetical song of the state
of Persia.
The ideal motive of it is suck with the love juice. In the Bengali Language,
with the Gajali style of the state of Persia and after combination of the
Bengali manner, Nazrul is only the first Bengali community was presented an un
common juice style of the music. He is only the sole demander of this kind of
credit. Before of the Nazrul, the then established singer and tuners, among
them one or two were made effort to start gajal in Bengali community did not
accept those.Gradually rise up of the north Indian Music tradition is one of
the example is gajal. Among these songs, some one is gajal, some other is gajal
thumri and in some other, there is a combination of Gajal, Thumir and Dadra.
Nazrul in Rage-Mixture:
At when is mention one other rage mixture with a
absolute rage then it is called mixture rage that means has been come a little
shadow of other rage with the fixed rage. The shadow rage is not cleared and as
such has called a mixture. Such as: Bhairabi, mandu mishra, sindhu, pahari
misshara, Khandaz Mishra, Baroa mixture, khambaj joy joyanti. Here two rages
has been made a combination and has created a tone. In some other, there has
been created tone after combination of three rages, such as – Behag, tilak
Kamod, khambaj. Here is needed to remember that the fully practical knowledge
of music, scripture knowledge and process of music classification is not
entirely possible to make a combination without the perfect experienced person
for one more rage at all. With the perfect ideality of the Indian music, great
attracted of Nazrul of his music tile as it is the source of classic Thumri,
but in his own ignorance, perhaps his mind was more fully dissolved with the
thumir style.
Nazrul as a Singer and Tuner in same of period: Among the same time singer
and tuners, there was found a similarity of tone ideality of Nazrul with
Dijendra Lal and Atul Prosad. Dijendralal was created some of the Hisdusthani
classic and Atul Prosad was created some of the Thumri in Bengali word. Those
were accepted by the learnt audiences – the common peoples did not accepted it.
But the
Page-4
created Bengali word of Nazrul Islam classic
Thumries were accepted by the common peoples and will be accepted by the
tomorrow peoples.
Specimen example of Nazrul created Thumri, Tappa,
Kawali:
Some of the Thumri, Tappa, Kawlai created by Nazrul are mentioned here. Such as
‘A ghor Srabon Nishi Kate ‘Swapane Eso Nirjane’ – Pilu (Thumri) Dadra, ‘Jaha
Kishu Mama Ahce Priyatama’ – Sindhu Bhairabi (Tappa) Jath, Aji a Kusum Har’ –
Kafi (Tappa) Jath, Achisen Habibe Khoda Arash Pake Tai’ – Kawali maner,’ Syede
Makki Madani Kawali, Shidi Edgahe Dekho aaj Jamayet Bhari – Kawali.
Creating of new style after mixture of the different
rage: The
tone of the Kawali song is mainly constructed with the shelter of rage. There
is not possible to make a clear idea to any particular rage after mixture of
one more rages and as such there was not mentioned the name of any rage in the
case of tone. There was not created the number of songs more than three
thousand of Nazrul with not a simple matter. Any Singer and Tuner did not able
to crate such a huge number of songs in the world. The number of Rabindra
Nath’s song is two and half thousand. In the range of Nazrul’s song, what is
how much style or group of song is found and those who are known and such type
of one of group songs will be some of the hundreds. There has been mentioned
some of the specimen example in this written only. Dhrupad, Classic, Thumri,
Tappa, Gajal, Dadra, Sadra in all sides is the scholar. Specially is called as
the father of the Thumri. The book of song of Nazrul ‘Bulbul’ that means the
Bangiti, nothing is remembering with me that Thumri Emperor the Master Jamir
Uddin Khan, while sacrificing by his name, the poet was wrote, ‘The Master of
my song is well known”. It seemed that the Thumri attraction of Nazrul is too
much. With the break and little tone mixture of Thumri word an in comparison of
light Dhrupad classic and thinking with singing process, there is created of
word.Bhajan, Hori, Kazri : Shuvra Samujjal He Chiro Nirmal, Lacha – shak, S.
Ananda Sundar Ghan, sham Khambaj Mishra, Bane Jai Ananda Dulal, Kafi Sham
Sundar Giridhari, Sadumahabi, Sarong Gan Kati Bhajan. Hori aaj Nanda Dulal Oi
Khele Braja Nari Hori – Mishra Khambabati, Kajori Gahiya Eso Gop Lalona, Kafi
Gan Kati Kajori.
Rage headed : ‘Kar Bashori Baje Multani Sure’ – Multan, ‘Ajo Kade
Kanone Koyelia’- Hambir, ‘Arun Kanti Ke Go Jogi Bikhari Ahir Bhairab, Sajiacho
Jogi Bal Kar Lagi-Jogia Aji Ghum Nahe Nishi Jagaran-Darbari Mixture, Nilambari
Shari Pari Nil Jamunai-Nilambari Hansa Mithun Ogo Jao Kaye Jao, Bara Bara
Hangsa Sarong Eso Chirojanamer Sathi Nagh Sarabali, Basanta Mukhar Ajire
Basanta Mukharari Chandni Rate Mallick Lata Chandi Kedar, Kaberi Nadi Jale Ke
Page-5
go Balika Kanarti Samanto. The tone or message of
the aforementioned songs, we are well known for many days.
Dhrupad group song of Nazrul Classic: The motive translation of
the former old rage music for some the those and correct Bengali message
extract classic-Moor Mondir Abolo Na Aye, Megh Medur Barasar Kotha Tumi,
Joyjanti, Jhyan Jhyan Jhyan payel bole rum jhum rum jhum Nupur Bole, Not Behag,
Peu Peu Birahi Papiya Bole, Lalit, Nazrul’s created classic of many and some of
those is Satish Kanmjilal, Monju Shaheb, Ostad Kader Baksa is remarkable.
Practical and Theoritical of Nazrul:
Except the practical side of Music, he would sunk in
some other times to do think with the theory side of the Music that some body
was mentioned that he would sunk with the thinking of Music and would forget to
take food and sleep and would made him on sitting after closing of his eyes
like of warship person through the medication.
EXAMPLE OF NAZRUL CREATED RAGE SYMPTOM SONGS
Ashabati : Trital
He Not Bhairabi Ashabari
Othgo Karun
Gan Bisari
………………………..
Protham Prohar Diba Bahe Jay
Sudha Kallan : Aktal
Nitya Sudha Kallan Rupe Acho
Tumi Moor Sathe
Sandra Nibir Sandhay jei
Path Bhuli Dhar Hate
……………………………….
Dukho Jaala Jurate
The poet created twenty Rages name : Denjani,
Snadhamalati, Minakhi, Aurn-Rajani, Nirjharani, Rup Monjuri, Snakari, Sankari,
Shibani-Bhairab, Rudra-Bhairab, Jogani, Asha-Bharabi, Udashi-Bhairab,
Rakta-Hansa, Sarong, Mayur-sinhasan, Bishnu-Bhairab, Arun-Bhairab,
Shib-Saraswati, Benuka, Dolonchapa and Ban-kuntala.
Page-6
Identification
of one of the Rage created by Nazrul is mentioned:
Sankari
: Badi Gandhar, Sambadi – Nishad
Up
: Sa Ga
Pa Na Dha Saa
Down
: Saa Na Pa Ga Pa Na Dha Pa Ga Sa
Priochanda – 7 Range
Division : 2:3:2:
Monimala : 20 Range
Division : 2 : 4 : 2 : 2: 2:
4:2:2
Criticism: In the range
of the Nazrul's song, there is found some of the Dhrupad base songs. But the number of very little. So, it seem
that discussing on the matter of "Song of Nazrul Islam" Narayan
Chowdhury was told that Nazrul is Dhrupad absent, but is remarkable attraction
with Classic Thumri. Absolute tone
ideality of Kazi Nazrul Islam of its scripture process thinking as well as Rage
concentration some of the specimen herewith mentioned only. Creating of Musicof
Rabindranath was rised up Dhrupadia tradtion and creating of Nazrul was rised
up the tradition of Classic Thumri.
Conclusion : Music related valuable full
of scholar un-published written has been published from Kolkata by Kalpataru
Sengupta edited "Questing of Nazrul's Song" which was
un-published. The editor has been
attached the following one of the note: 'Tone and Hearing' is written of Kazi
Nazrul Islam is still un-published. One
of the binder copy, there has been found it by own handwriting of Kazi Nazrul
Islam. In this copy, he was written in so quickly that there has been faced
trouble to recover of the reading. Rages and Hearing charts were created by his
own effort. After seen of this chart, it is imagined that in comparison
consideration of the scripture base song how he was attracted and how was
studied about the Music studies in the scientific looking. In this copy he was
more described about the nature of one more Rage. Perhaps, he had own wish to
write his own thought about the Music and this written is the prove of his own
wish. In the Indian Music Studies and
his eagerness and thought for to study it is imagined from this written.
Information
Books:
1. Nazrul Institute News paper
special publication
Edited
by: : Muhammad Nurul Huda.
2.Literature
Magazine
Edited
by: Muhammad Moniruzzaman.
3. Kazi Nazrul Islam Nabajug
Nazrul Islam Writings.
4. Nazrul Academy News paper, New Style, 1st
Series, Barsa-sharat, 1394, Pages 7-83
Edited by: Abdul Mannan Syed.
No comments:
Post a Comment