Every song and movie often originate from a deep, personal, or imaginative story. These stories emerge from real-life events, emotional experiences, or creative inspirations that transform a simple idea into a memorable piece of art. Behind the melody of a song or the scenes of a film lies an invisible narrative that enriches its meaning.

One such fascinating story lies behind the iconic song “Khoya Khoya Chand” from the film Kala Bazar (1960). The lyricist Shailendra was under immense pressure from composer S. D. Burman to deliver the lyrics quickly. At that time, Shailendra was extremely busy and had not yet found the inspiration to write the song, even when approached by the film’s producer and lead actor, Dev Anand. Days passed, and the composer grew increasingly impatient. Finally, S. D. Burman sent his son, R. D. Burman fondly called Pancham to Shailendra’s office with strict instructions not to return home without the lyrics.

According to popular legend, Shailendra had not written a single word when Pancham arrived. Instead, he made him wait the entire day, driving from one location to another while smoking cigarettes. Hours passed, daylight faded into night, and still no lyrics emerged. Around 11 p.m., when Pancham was nearly ready to give up, Shailendra asked him for a matchbox to light another cigarette. Gazing at the moonlit sky, inspiration suddenly struck. He began writing the opening lines on the foil of a cigarette pack—an act often mistakenly remembered as writing on a matchbox.

Shailendra then asked Pancham to return home and inform his father that he would arrive the next morning with the completed lyrics. That spontaneous moment of inspiration led to the creation of one of Hindi cinema’s most unforgettable melodies. The song eventually became one of the most celebrated compositions of its era, beautifully sung by Mohammed Rafi, whose voice gave life to the romantic longing captured in the lyrics.

Emotion, Imagination, and the Artist’s Inner World

Artists frequently draw upon moments that shape their inner worlds. A simple tune may carry the memory of longing, separation, or love. Creative imagination also plays a vital role. Not all songs emerge from lived experience; many arise from an artist’s ability to imagine alternate worlds, characters, and emotions. Yet even these imagined creations often reflect universal human feelings, allowing audiences to connect deeply with them.

Understanding the story behind a song or film enriches the listening or viewing experience. It transforms art from mere entertainment into an emotional and intellectual journey. When audiences learn about the inspiration behind a work, they often discover new layers of meaning that make the experience more profound and memorable.

The Musical Soul of the Song –  Raag Bhimpalasi

The melody of “Khoya Khoya Chand” is based on Bhimpalasi, a soft, emotional, and deeply expressive raga associated with longing and romantic yearning.

Traditionally, Bhimpalasi is performed in the afternoon, typically between 1 p.m. and 4 p.m., rather than at midnight or early dawn. Its mood evokes introspection, love, and gentle melancholy, often resembling the emotional stillness of a warm afternoon breeze.

Bhimpalasi shares similarities with the Carnatic raga Abheri, which carries comparable melodic phrases and emotional depth. The origin of the name Bhimpalasi remains somewhat obscure. While scholars have explored linguistic and historical possibilities, there is no universally accepted explanation for its naming. What remains certain, however, is its enduring emotional power—songs composed in this raga often linger in memory long after they are heard.

Conclusion

“Khoya Khoya Chand” remains unforgettable not only because of its melody but also because of the moment of inspiration that gave birth to it. The story behind its creation reminds us that art often emerges from unexpected moments—when pressure, patience, and imagination converge. When we listen to such songs with knowledge of their origins, the experience becomes richer. The melody is no longer just music; it becomes a living story, one that connects artists, history, and listeners across generations.

https://www.youtube.com/watch?v=EsENO8IjmoY

The “camaraderie” or companionship shared between Mohammed Rafi and Kishore Kumar was a respectful and supportive friendship between two legends of Indian playback singing, characterized by their professional collaboration, mutual admiration, and the creation of timeless songs despite the fan-driven comparisons between their unique styles.

Kishore Kumar could sing songs of a wide range of emotions. His voice was known for its ability to convey a broad spectrum of emotions, from the tender romanticism of love songs to the infectious energy of party anthems.  He could effortlessly shift between different moods, from joyous to tragic, and between various genres, including ballads and energetic tracks. Kishore connected with actors by becoming their voice on screen.  A key aspect of his versatility was his remarkable ability to adapt his voice to match the specific persona and mood for different actors, from Dev Anand, Amitabh Bachchan to Rajesh Khanna, creating a unique connection with each.

Mohammed Rafi’s voice was unique due to his extraordinary versatility, incredible vocal range, and exceptional ability to convey emotion and adapt to various actors’ personalities and song moods. His voice had a distinctive texture that was simultaneously smooth, pure, forceful, and capable of soaring to high notes or plunging to deep, solemn tones. This blend of natural talent and technical skill made him a “Voice of God” and the definitive “Emperor of Melody” Both Rafi and Kishore share a good comradery .

During their individual musical journeys Kishore Kumar refused to sing songs because he felt were better suited for Mohammed Rafi’s voice, often due to the song’s genre or mood, which included qawwalis, classical-based songs, or other styles he wasn’t comfortable with. He prioritized artistic integrity and believed Rafi was the better choice for these specific songs, which were then sung by Rafi. Examples include “Nafrat Ki Duniya” from Haathi Mere Saathi and “Wada tera wada” from film Dushman.  

Kishore Kumar, despite his immense talent, was not as comfortable singing certain musical forms like pure qawwalis or classical-based songs. He recognized when a particular style or mood was better suited to Mohammed Rafi’s vocal prowess.

In some cases, Kishore Kumar’s refusal stemmed from a deep respect for Rafi, acknowledging that Rafi’s voice was the superior choice for the composition. Kishore Kumar did indeed suggest Mohammed Rafi’s name for the song “Chal Kahin Door Nikal Jayen” from the film ‘Doosara Aadmi’, which also featured Rafi in other films by the same composer. The song is a classic and was released in 1977. In the song Rafi has a brief part to sing. But Rafi has made it so lively and energetic which is picturised on Shahshi Kapoor. Watch the video below:

In another incident, Kishore refused to sing a song from film Abhimaan. The movie was  inspired by Kishore Kumar and his first wife Ruma Guha Thakur.  Both married in 1951 Ruma was a successful singer and actress of Bengali cinema. Then, Kishore Kumar was the struggling actor and singer during that period.  Kishore wanted that Ruma should stay home and take care of his family. But Ruma wanted to continue her career.  Due to this conflict, they had problems in their married life.  At last, they got separated in 1958. When Kishore refused to sing this song “Teri Bindiya Re” music director S.D.Burman chose  Mohammed Rafi to sing the song “Teri Bindiya Re.” Versatile Rafi sahab modulated his voice according Amitabh Bachchan’s voice and sang it very beautifully.  This song became the biggest hit of the year 1973. 

One more such song from movie Thokar 1974 which was produced on a tight-string budget with new actors had two very beautiful songs one sung by Mukesh and the other by Rafi. The song “Aapani Aankhon me basakar” was initially offered to Kishore. The song illustrates the truth that love has only one constraint- it should be between two devoted souls. Kishore suggested the composer that the song should be sung by only Mohd. Rafi. If there is a devoted soul to understand the feel of love, you need not have the eyes to see the beauty of it, nor do you need the words to express the feelings of your heart. Kishore refused to sing this song because it required a yearning in voice, it was a serious song. He strongly felt only Mohd. Rafi would do justice to this song. Sajan Dehelvi lyricist, Shyamji Ghanshyamji the composer and legendary Mohd Rafi immortalized this song picturised on an unknown actor Baldev Khosa.

A film, at its best, isn’t just storytelling it’s emotional architecture. The plot is only the visible skeleton; what truly moves an audience is how characters feel, how those feelings evolve, and how the viewer is guided to internalize them. When you call it an “emotional delivery system,” you’re pointing to something very real: films are designed to engineer empathy. Think about how this works in practice – characters as emotional anchors, we don’t just watch them we identify with them. Their fears, desires, and conflicts become psychologically “mirrored” in us. Structure as emotional pacing, the rise and fall of tension isn’t just narrative it regulates how we feel moment to moment. Music, visuals, and performance work as amplifiers these elements synchronize to intensify emotional states, often bypassing rational thought entirely. When all of this aligns, the film becomes more than a sequence of scenes; it becomes a cohesive emotional experience.

The film author Richard Bach refers in his book “Butch Cassady and Sundance Kid” is a perfect example of what Bach is pointing toward. On the surface, it’s a story of outlaws, adventure, and friendship. But beneath that, it becomes something much deeper: a lived emotional experience. A movie is not just watched, it is entered. When we sit in a theatre, we suspend our own identity and step into another reality. Time behaves differently, emotions are heightened, and the boundary between “self” and “character” softens. In that space, we are no longer merely observers, but we become participants. This is what Bach calls an “illusion” not in the sense of something false, but something constructed yet meaningful. Just like life itself in his philosophy, the movie is a crafted experience that feels real while we are inside it.

In Butch Cassidy and the Sundance Kid, the friendship between Butch and Sundance becomes the emotional anchor. We don’t just understand their bond—we feel it. Their risks, their humour, their defiance, even their inevitable fate, all of it becomes our experience. That’s the “emotional simulation.” Movies allow us to experience life without consequences. That’s precisely why they are powerful. They let us rehearse emotions (love, fear, loss, courage)explore identities beyond our own, gain insight without direct suffering.

In Richard Bach’s worldview, both life and cinema operate similarly—we step into roles, live through them, and eventually step out again. In a sense, both cinema and literature create a safe illusion of reality a constructed space-time bubble where we can explore identity. In fact, some of the most impactful films are remembered not for their plots, but for the feeling they leave behind something difficult to articulate, yet deeply personal.

One latest example of a movie is ‘Dhurandhar’ it is a highly successful Indian action-thriller film directed by Aditya Dhar, starring Ranveer Singh, about an Indian spy (Hamza) who infiltrates Pakistan’s notorious Lyari underworld to dismantle terror networks targeting India, blending real events like the IC-814 hijacking with fictional espionage, serving as a large-scale blockbuster sequel to Uri. The story follows Hamza’s deep undercover mission within Rehman Dacoit’s gang, played by Akshaye Khanna, a powerful and feared Baloch gang leader, facing internal conflicts and political intrigue in Pakistan while gathering intelligence for RAW, ultimately exploring themes of patriotism, sacrifice, and complex covert operations.   The character is inspired by the real-life Karachi gangster of the same name who was involved in extortion, narcotics, and organized crime. Khanna’s portrayal has received significant attention, particularly for a viral entry scene.

Moviegoers and readers identify with stories through the characters. The most powerful way to reach an audience is through the characters’ emotions. For only when we connect with the characters on an emotional level, the communication becomes deep and meaningful. Well-written scenes that include characters’ emotions allow the audience to absorbedly take part in the story and bond with the characters. In our real life, we meet and interrelate daily with other people. Unlike in stories, many of these interactions are apparent. While some audience rather enjoy a more distanced, intellectual challenge, many others want to engage with characters in books and movies on an emotional level. Through the character’s emotions, experience, learning etc the audience live their lives.  Writing, plotting, editing, etc is not a joke. It requires great talent to script a story, choose the right actors to emote those characters, a great writer to write dialogues, a great editor to edit scenes to reinforce significance of emotion in creating a persuasive story.

Key Aspects of the Synergy created in a movie are emotional channel wherein characters serve as channels for the audience to experience feelings, where well-developed characters heighten the audience’s investment in the story. Film is highly effective at inducing empathy (both mental and embodied), allowing viewers to feel emotional shifts in real-time. Catharsis and release. Films provide a “safe space” for audiences to experience intense emotions—such as fear or sadness, remove their pent-up negative feelings in a process known as catharsis. Finally, the technical integration: this synergy is achieved by combining the actor’s performance with technical elements like lighting, music, and sound design to amplify the emotional impact.

The 1965 film Guide is widely regarded as a masterpiece of Indian cinema, featuring a “superb” and pioneering plot that was far ahead of its time. Directed by Vijay Anand and based on R.K. Narayan’s novel, it is praised for its character depth, realistic flawed characters, and powerful emotional arc. The film departs from typical Bollywood tropes by portraying realistic, flawed human beings rather than black-and-white heroes. Raju (Dev Anand) evolves from a charming tour guide into a deeply emotional, flawed man, and eventually to a spiritual seeker.

The plot bravely explores unconventional themes for its time, including a married woman (Rosie, played by Waheeda Rehman) seeking a divorce and living with another man (Raju) to pursue her own identity and passion for dance. Bothe Raju and Rosy become a live-in couple. This was ahead of its times. The story explores a profound transformation, moving from a tale of love, fame, and greed to a story of sacrifice and spiritual awakening. It follows a strong, winding character arc (guide –  lover –  convict –  saint) that keeps the audience engaged throughout its duration. Despite some deviations from the original novel, the film’s climax where Raju voluntarily fasts for a village during a drought provides a powerful, cathartic end to his spiritual journey, as noted in the film’s synopsis. The film is recognized for its artistic brilliance, blending drama, romance, and philosophy, along with iconic music by S.D. Burman.

In 1965 Guide had a profound and lasting impact on Indian cinema, breaking societal taboos and redefining film aesthetics, rather than having a specific 1969 impact. It was considered “way ahead of its time” for its themes of female agency, adultery, and spiritual redemption. This is how a good movie unites strangers in shared emotions.

I love the song “Dil ka diya jala ke gaya” from film Aakashdeep (1965) The song is composed in Jaijaiwanti raga. Lata Mangeshkar has sung it in “half breath” which refers to a quick, shallow inhalation taken during a phrase to refill breath support without completely stopping the musical line. It is a subtle and controlled breath that allows singers to maintain momentum and phrasing, especially when faced with long musical passages. This sweet melodious song was composed by veteran Music Director Chitragupta and the lyricist of the song is Majrooh Sultanpuri. 

Jaijaiwanti is from the Khamaj family of ragas. In Carnatic Music, its equivalent is the Raagam Dwijawanti. Jaijaiwanti usage spans several genres such as Sikh Gurbani which were compositions of Guru Tech Bahadur. In Bollywood Shankar Jaikishan, Madan Mohan used Jaijaiwanti for composing some evergreen songs.

The Khamaj scale  is a foundational structure in Hindustani classical music, and several ragas are derived from it. Some prominent ragas within the Khamaj family include Khamaj itself, along with Rageshree, Jhinjhoti, Desh, Tilak Kamod, and Jaijaiwanti. These ragas share characteristics with the Khamaj thaat, but each possesses unique melodic contours and emotional nuances according to music archives. Raag Jaijaiwanti is typically sung during the second prahar of the night, from 9 PM to 12 AM.

Jaijaiwanti on sarod is a relative rarity, owing to the complex structure of the raga. When songs are composed in this raga, usually,  the music director, the singer, and the actor come together which portrays beautiful cooperation that makes a song a hit.

I wonder how Lata could sing the song so perfect, not a single note here and there, so precise and accurate in half breath. She sang in low notes with same power and clarity the way she sings in normal and high notes.

The heroine of movie Bani (Nimmi) has fallen in love; she is a mute girl  who plays a record to  express her feelings to the world. Her expressions are as soft and subtle.  Nimmi has acted beautifully experiencing the love she feels for the hero (Ashok Kumar).  How brilliantly the song has been composed in this context! Chitragupta has kept the tune subdued, and somewhat muted melody. A muted melody is one that is played softly, with a lower volume or intensity. It can evoke a sense of quietness, introspection, or melancholy.

Violins in the beginning give the account of thrill of love experienced by Baani. And then the soft melody takes over with the jal tarang. Lata Mangeshkar as if whispers the lyrics in your ears, letting out the secret of her feelings. The soft glow of love sparking Nimmi’s heart. Bringing up the feelings as a song, which were deep down in her heart which she expresses for the first time. Listen to this beautiful song.

Christmas is classically a peak selling season for retailers in many nations around the world. Sales increase dramatically as all rich and poor purchase gifts, decorations, and supplies to celebrate. In the U.S, the “Christmas shopping season” starts as early as October. In Canada, marketers begin advertising campaigns just before Halloween, (it is a yearly ritual observed in a number of countries to remember all dead people on October 31st), and step up their marketing following Remembrance Day on November 11. In the UK and Ireland, the Christmas shopping season starts from mid November; around the time when high street Christmas lights are turned on to mark the beginning of celebrations. In Mexico it begins from third week.  In the United States, it has been calculated that a quarter of all personal spending takes place during the Christmas shopping season. The winter breeze has a charm in it; shopping in winter is a blissful affair.

Winter season has a rustic appeal. Winter is the coldest season of the year. December and January are chiefly the winter months. Cold winds blow from the north. Thick fog often hides the sun, and cold becomes severe. People are seen basking in the sun, or sitting around the fire, to keep their body warm. In winter, we get lovely fruits and vegetables; it gives us various kinds of seasonal flowers; Dalais, Roses, Lily, Lavender, Primrose, Daisy, and Begonia and many other seasonal beautiful flowers make the season multihued. The winter sky is clear and blue. The roads and paths are clean and dry. You can go for long walks without sweating. The winter sun is mild and warm. Everyone is in full of amusement. The winter season is lit with nice, dim beautiful sconces. The beautiful, cold dew drops on rooftops and ground look as beautiful as pearls. The cold morning with nice music and deep-red rising sun is what people wait for. Winter is indeed a season to be celebrated.

The month of December being the last month of year usually passes fast because of the Christmas and year-end. People usually prefer celebrating year ends in far-off destinations. Therefore after 15^th December you find many people opting for leave. Holiday plans are made well in advance.

And 31st December means celebration for every individual. The New Year carries special symbolism for one and all. And why is the celebration of the New Year so common around the world, as it has been for at least as long as there have been calendars? Behavior that everywhere must surely be tied to something natural in the human beings, something intensely meaningful and important given all the energy and resources we put into both the celebration and our efforts to make good on which we start working well in advance. As common as the celebration of New Year’s Day is, it may be that the symbolism we attach to this one moment is rooted in one of the most powerful motivations of all, and that is our motivation to stay alive another year. And, many of us make list resolutions for the New Year. So what even if we fail to keep most of them…..

At one second past midnight on Sunday, the day will change to Monday, which is otherwise normal ordinary transition that happens every day, with no connotation. But somehow this change, which will end one old year and begin the next New Year 2018. That makes the difference. This unique tick of the clock has always encouraged all of us to celebrate, welcoming the New Year with new zeal and new enthusiasm. On the other hand, some people experience a sense of nostalgia as they reflect on the events that took place in their lives in the past 12 months. To step outside to live day-to-day in which we’re at all times so busy with. For many of us the last day of the year is the day to reflect back; to look flipside, take stock, to assess how we did in the year, and to cheerfully resolve to do better and look forward. Ha! Another year, it’s time to raise our glasses and toast to “our survival” yes, another year to accomplish many more things.

Some people celebrate New Year’s Eve by attending midnight church services, while others gather around in public venues such as hotels, clubs and many gather in friend’s house, grounds etc. The size of festive events for New Year’s Eve varies in size and theme. Some people attend formal masquerade balls while others have costume parties. Many New Year’s Eve celebrations are commenced with firework.

Many people start counting down to New Year’s Day in the last minute or seconds before the last night of the year ends and the New Year begins. Some people tune into watching televised countdowns. As the clock strikes midnight into New Year’s Day, many people celebrate this event by exchanging hugs, kisses, and wish each other a “Happy New Year”. In some parts of the world, including in the United States, many people sing the Scottish song “Auld Lang Syne” during the New Year’s Eve celebrations. The song means can old acquaintances be forgotten and never be brought to mind? The song references the love and kindness that was experienced in the past; it also gives listeners a sense of union and belonging to bring with them into the future. Because of its meaning it’s quite fitting song to be sung on New Year eve.

It is important to note that not all cultures follow the Gregorian calendar in observing New Year’s Eve and New Year’s Day. But, the Hindus, Chinese, Coptic, Jewish, Islamic calendars differ to that of the Gregorian calendar. However, for businesses around the world, 1^st Jan marks a new beginning of a calendar year.

Here’s wishing you a Merry Christmas!!

]]> https://drvidyahattangadi.com/what-is-the-meaning-of-christmas/feed/ 0 https://drvidyahattangadi.com/humans-and-animals-love-music-equally/ https://drvidyahattangadi.com/humans-and-animals-love-music-equally/#respond Mon, 22 Sep 2025 00:01:00 +0000 https://drvidyahattangadi.com/?p=9559

The universe loves music which includes trees, birds, water, air, animals and human. Many researchers including musicologists have highlighted the connection between music and nature. While trees and birds may not experience music in the same way humans and animals do, studies suggest that birds are attracted to and even learn to sing in response to human music, and music can create a calming and enhancing environment for them. Additionally, the rhythms and structures of bird song have been found to share similarities with human musical compositions, suggesting a fundamental link between music and the natural world.

Many dogs enjoy listening to music, and some even have preferences for certain genres or instruments and certain singers.  Studies have shown that music can have a calming effect on dogs, reducing stress and anxiety.  My pet, a German Shepard whose name was Momo used to love Modemed Rafi’s songs “ Dil ka bhavar kare pukar”, “Abhi na jao chodakar”, “Likhe jo khat tuze”.   Momo used to literally enjoy these songs, I would listen to songs with him. He was a good companion for enjoying music.  

Ustad Abdul Karim Khan, a renowned Indian classical vocalist, was known for his strong bond with his dog, Tipu Miyan, who was also his musical companion. Tipu Miyan would listen to Ustad Khan’s music during his practice and even accompany him on stage, Tipu Miyan  drew  attention for his unique “singing” during concerts. People would throng for Ustad Khan’s concert for watching the vocalist support by Tipu Miyan. Ustad and Tipu Miyan even shared  food and drink. Miyan was Ustad’s constant companion.

Ustad  Abdul Karim Khan Saheb is known as the father of modern Kirana Gharana. Khan Sahib got his initial training from his uncle Ustad Abdullah Khan and father Ustad Kale Khan. Abdul Karim Khan’s Gayaki (style of singing) was a merging of pure Kirana Gharana Gayaki, Carnatic style of singing and elements of Gwalior Gayaki which he picked up from Ustad Rahimat Khan Sahib of Gwalior Gharana. 

Tipu Miyan would listen attentively to Ustad Khan’s music, and Ustad Khan even gave him lessons. Tipu Miyan was known for his ability to “sing” along with Ustad Khan’s music, and he was often showcased during concerts, especially when the king of Satara was present. There’s a famous story about a concert in Satara where Tipu Miyan, by mistake, was listed as a performer. Ustad Khan, despite the mistake, had Tipu Miyan join him on stage, where he “sang” in tune with Ustad Khan’s music. When Khan Saheb learned the King of Satara would be attending, he told Tipu Miyan “इज्ज़त की बात है, you have to sing before an eminent audience,” and Tipu Miyan, in response, reportedly sang along with Khan Saheb, mirroring his notes. Khan Saheb regularly gave Tipu Miyan lessons on music. Whenever Ustad sang emotional mukhadas and ragas, Tipu Miyan would shed tears.  HMV has recorded Ustad Abdul Karim Khans music.

Though HMV’s logo is not linked to Tipu Miyan and Ustad Khan, I connect to the logo with this history. In 1898, Francis Barraud painted logo for His Master’s Voice, which depicted his late dog, Nipper, listening to a phonograph. The painting and subsequent trademark rights were sold in 1899 to the Gramophone Company, using it on its sound equipment, and LPs. In 1909, created their His Master’s Voice record label. In 1909, The Gramophone Company began using the dog and gramophone trademark on its record labels, replacing the former “recording Angel” trademark. The company rapidly became known as His Master’s Voice due to the prominence of that phrase around the top perimeter of the label.

Music can affect human health and well-being. This sparked an expanding field of study that focused on how music might improve animal welfare and facilitate human-animal interaction. Birds have a vocal organ called the syrinx in their larynx that holds their vocal cords deeper into their bodies. While humans only have one set of vocal cords, songbirds have two sets, allowing them to generate two distinct sounds simultaneously and in unison. The term “bird song” refers, in non-technical terms, to the musical bird sounds that humans can hear. Loud shouts from monkeys are the most probable choice for the model of predecessor for human vocalisation due to structural and behavioural similarities in all non-human primates’ vocalisation.

Music is one of the main functions of living beings. Even plants grow faster when light music is played near them. Although making music is a distinctly human activity, research shows that animals have the capacity to listen to and even enjoy some types of music.

Conclusion

A 2002 study of shelter dogs conducted by Dr. Deborah Wells, a psychologist and animal behaviourist, found that dogs did indeed react to music. Award-winning concert pianist and canine musician Lisa Spector runs a nonprofit organization called “Music in Shelters.” She has donated CDs of playing her piano to over 1,500 shelters worldwide. The soothing classical music played at dog-specific tempos helps reduce barking and creating a more peaceful atmosphere that encourages visitors to stay longer in the shelters with the canines.

Pyaar Ka Mausam (1969) was an average film; it had some of the best songs like tum bin jaun kahan sung by Kishr and Mohammed Rafi, Na ja mere humdum, che khush Nazare, ni sultana re.. etc. Tum bin jaoon kahan was sung by both Rafi and Kishore. Rafi sang the same song twice for the protagonist of the movie played by Shashi Kapoor, once with mandolin and once on piano. And Kishore sang for Bharat Bhushan, the protagonist’s father played by  Bharat Bhushan. Composer, R. D. Burman got the best from both Rafi and Kishore. As I recall, Kishore Kumar version picturised on Bharat Bhushan in open area  had become more popular with the public. Yodelling rendered by Kishore as the interlude captivated the audience. Actor Bharat Bhushan proved lucky in bagging a hit song. The initial yodelling of Kishor in high pitch for this song is called falsetto. 

Falsetto is a vocal reach, or a way of singing, that allows singers to reach notes higher than their normal voice, characterized by a light, airy, and often breathy sound. Falsetto comes from the Italian word “falso” meaning “false,” refers to a vocal technique that produces a high-pitched voice, often associated with male singers, but can be used by both genders. Falsetto has a long history in music, particularly in operas, and has been used widely in popular music by various singers. 

Falsetto is often associated with its flexibility and unique tonal qualities, yet its place in Indian classical music remains disputed. Exploring its historical applications, modern adaptations, and the cultural conversations surrounding it can offer valuable insights into this intriguing vocal technique.

Tum bin jaun kahan song became famous for its all four versions sung by Rafi and Kishore – once happy and once sad. Though R.D’s composition was brilliant, the song was recorded at a bit too faster a tempo disallowing much allowance to Rafi to give expressions with his signature glissando which means a continuous slide upwards or downwards between two notes. Initially, when the film was released, Rafi’s versions were more popular than Kishore’s version. Later, Kishor’s version drew more attention from public.

In my opinion, two songs by Lata Mangeshkar in falsetto are very popular: palbhar me ye kya ho gaya from film Swami, aa jane jaan from film Intaquam. Similarly, Asha has sung many songs in falsetto style. Dum maro dum from Hare Krishna Hare Ram and Aayiye meherban from film Howra Bridge. 

Falsetto is good for building excitement that builds up in the audience when singers hit those high notes. Falsetto shows a singer’s ability to hit those tricky high notes with accuracy and control. It’s a display of their skill and mastery over their voice. Falsetto adds a unique emotional quality to a performance. It can convey vulnerability, intensity, or a heightened sense of emotion that’s not easily achieved in other vocal styles.

You cannot stop an idea or identify meaning of the idea when it comes and when it comes it doesn’t stay for long, it vanishes in seconds of time. If you witness a thought/idea  and try to ponder over it, it just drifts away or vanishes. But if you hold on to it and chew on it, then it stays with you by giving some vague presumptions until put to a logical end by adopting right action.  A  beautiful thought can get messed up because of our assumptions.  The way we think about something, greatly impacts our emotions and actions. This phenomenon is not just a coincidence; it is a powerful aspect of human psychology that shapes our experiences and ultimately determines the outcomes.

An idea, especially one that has not yet been fully developed may be brilliant in nature. But the sad truth is so many such brilliant ideas come and go. An unresearched thought/idea is a bubble and they don’t get beyond a thought bubble.

I want to write about a beautiful Marathi lyric written by Tryambak Chintamani Khanolkar who had been given pen name as Arati Prab; the poetry was sung by Mahendra Kapoor and composed by Pandit Hridaynath Mangeshkar “Ti yete anik jaate”.  In the poetry Khanolkar talks about an idea/thought of an artist, which comes and goes away. In Marathi thought is ‘kalpana’ which is feminine noun. The thought comes in form of bud and wants to be thriven like a flower before leaving. Which means the artist needs to give shape to the thought by adding clarity and shaping it in a perfect bloom.   

The nature of any thought is transient to come and go, to inspire the artist for getting beautifully  shaped. The thought teases the artist, it plays hide and seek .  While coming to the artist she comes shyly and blushing. And if the artist fails to shape her, she mocks him while leaving for not grasping her.  She wants to be grasped by the artist, and she wants to be comprehended precisely.

She has no constraints of time, place, situation while coming and going.  She enjoys the freedom of arriving anytime, anywhere in any situation, in a fluid form. She stays for a while and runs far away from the artist if she is not caught in time and while going farther, she hums the evening tune which meaning the day coming to an end. She travels a far distance while  coming. She feels disappointed and she vanishes, which dismays  the artist. Our thoughts are like bubble waiting to be popped.    

Hridaynath Mangeshkar spoke about his experience of composing this song: Tryambak Khanolkar and Hridaynath were great friends.  Khanolkar was a bit whimsical poet. He had written this poetry on a piece of paper and gave it to Hridaynath for composing. Hridaynath after reading it felt that it is premgeet/love poetry. He kept it away thinking he would compose it some other time.   Khanolkar came after a fortnight, asking whether this poetry is composed. Hridaynath told him that this is a common love poetry and why hurry to compose? Khanolkar became angry and told the meaning of the song. And Hridaynath without much delay asked his friend Mahendra Kapoor to sing this song. This is how the evergreen song “ti yete anik jate” is created.

I am giving here below the song and in Mahindra Kapoor’s velvety voice.

The Nāṭya Shāstra is a Sanskrit treatise (dissertation) on the performing arts. The text is credited to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but approximations vary between 500 BCE and 500 CE. It is a detailed treatise and handbook on dramatic art that deals with all aspects of classical Sanskrit theatre. It is believed to be written by Brahman sage Bharata.

The Natyashastra is a notable ancient encyclopaedia on arts which has influenced dance, music and literary traditions in India. According to Susan L. Schwartz,  a scientist at the University of California, Santa Cruz, ‘Natyashastra speaks about dramatic arts as a comprehensive aid to the studying of virtue, proper behaviour, ethical and moral endurance, courage, love and adoration of the divine.’

The text extends its reach into asking and understanding the goals of performing arts, the nature of the playwrights, the artists and the spectators, their intimate relationship during the performance. A spectator feels, audits, watches, interprets, or contemplates a drama, singing program, painting exhibition, a movie, a sports game. He is an important element of the event. The text of Natyashastra integrates aesthetics, axiology(a branch of philosophy which studies value) and description of arts with mythologies associated with Hindu gods and goddesses. The general approach of the text is to treat entertainment as an effect, but it is not the primary goal of arts. The primary goal is to lift and transfer the spectators into the expression of ultimate reality of superior values.

Natyashastra is notable for its aesthetic ‘Rasa’ theory, which asserts that entertainment is a desired effect of performance arts by making the audience experience parallel reality, full of wonder, where he experiences the essence of his own consciousness and reflects on spiritual and moral questions. Rasa Theory asserts that entertainment in the drama is expected to evoke Rasa or joy (artistic) but that is not the primary goal. The primary goal is to create parallel life in front of the audience to experience a sense of one’s own  consciousness, spiritual and moral query.

There are 11 parameters of drama/dance as per Natyashastra:

Rasa

The meaning of rasa is emotion. The nine Emotions included in Navarasa are Shringara (love), Hasya (laughter), Karuna (kind-heartedness or compassion), Raudra (anger), Veera (courage), Bhayanakara (terror), Bheebhatsya (disgust), Adbutha (surprise) and Shantha (peace or tranquillity). These are the emotions that a human shows according to the situations. Scientists have found that every emotion of human evokes a coloured aura (halo). The emotional spectrum is divided into the seven colors of the rainbow, with each color corresponding to a different emotion: rage (red), greed (orange), fear (yellow), willpower (green), hope (blue), compassion (indigo), and love (violet). However, it also represents the absence of color (black), which is death, and the combination of colors (white) which is life.

Bhava

According to the ancient scriptures, expressions reflected in poetry and other literary works are reflections of the emotions present in our society. Thus, there is a feeling of oneness and relatability. There are four types of this “Bhava” mentioned in our ancient scriptures: Sthayi (stable), Sanchaari also known as Vyabichari bhavas which means adulterator. Vibhava means stimulants and Anubhava means experience. The sthayi bhavas strengthens the audience’s feelings in drama.

Vibhava and Anubhava

Vibhavas are the stimulants of emotions, anubhavas (experiences)  the physical responses that go with these emotional responses and vyabhichari bhavas are transitory emotions.  Vibhaava is the cause and Bhava is the effect. Anubhava is the external manifestation of feeling by which actors communicate their mind and heart to the audience. For example, glances, smiles, movements of the limbs etc to indicate their feelings through actions.

Abhinaya

In dance and dramas Abhinaya means leading the audience towards the experience (bhava) of a sentiment (rasa). It is the language that dance uses to communicate its sentiments. To authentically convey an emotion, the dancer must genuinely feel it. Hema Malini is a trained Bharatanatyam dancer. Her daughters are trained Odissi dancers. They perform with Malini in a production called Parampara for charitable events. Hema Malini is famous for her Abhinaya in her dances. 

Dharmi

Scholars such as Kapil Vatsyayan translate ‘dharmi’ to mode of life which also means a particular way of living or behaving. Lokadharmi means ordinary mode.  Abhinaya is enacting a happening in real life or in an imagination. Happenings are actions in a person’s life. And all our actions are supposed to be ideal which leads to the word dharma. The way of showing dharma could be dharmi.

Vritti

Vrittis refer to different tendencies, or psycho-physical tendencies, which give scope for the mind to express a variety of feelings and emotions. Hindu texts describe samskaras to be a result of past actions and experiences that have left an imprint on the mind. Vrittis are different types of thoughts or mental activities which are caused by valid knowledge (pramana), illusion (viparyaya), delusion (vikalpa), sleep (nidra), and memory (smriti).

Pravritti

Pravritti is the path of directing action and focus on the external world and, therefore, it is the path that yogis follow most of the time when they are living in the material world. On this path, attention is directed toward worldly things such as possessions, career and income. In contrast, nivritti is the path of turning inward to more spiritual contemplation, perhaps with more focus on God or the Divine.

Siddhi

Siddhi means “attainment” or “success.” In Hinduism, it refers to spiritual powers or supernatural abilities that one can achieve through rigorous spiritual practices such as yoga, meditation, and soberness.  Siddhis can be material, paranormal, supernatural, or otherwise magical powers, abilities, and attainments that are the products of yogic advancement through sādhanās such as practice of yogic positions in dance and meditation.

Swara (Sound)

This means “tone” or musical note, it is a popular name given to girls in India and other parts of Asia. In Indian classical music term that result in simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or saptanka. It consists of series of seven notes. It denotes the set of swaras i.e. Shadja (Sa), Rishabha (Ri), Gāndhāra (Ga), Madhyama (Ma), Panchama (Pa), Dhaivat (Dha), Nishada (Ni), Shadja (Sa) which comprise a musical scale in Indian classical music.  

Aatodyam

This means orchestra. The word refers to “instrumental music”, according to the Nāṭyaśāstra, it is also known as vādya. It is one of the three components of Sangita. In classical or sugam sangeet instruments play a major role. The Natyageeta entertains by telling stories which can make us laugh and cry or take you away to faraway places. Simply put, listening to an orchestra can be a powerful experience.

Ganam

This means song. Ganam or dhruvas  are songs sung during dramatic action at five junctures – praveshiki (song sung before the entry of a character), naishkramiki (song sung to sooth emotions of the audience after a very moving or shocking scene), akshepiki (song sung to create an intervention) and antara (song sung in between two scenes).

Ranga

This means stage for drama and singing. A well-designed stage can visually convey the essence of the story, setting the tone and mood before a single line is spoken. Nepathya is decorating the stage. There are specialists for creating stage called set designers. Staging companies work closely with directors and designers to create sets that reflect the themes, time periods, and locations of the play. The stage acts as a crucial point of the event as it attracts the audience’s attention. The stage gives the performers or presenters space to move around and better engage with the guests.

Conclusion

Sangeet Natak (Marathi word for ‘musical drama’) is a form of drama which combines prose and poetry in the form of songs to convey the story, like musicals. They have played a vital role in the development of Marathi theatre and cinema, as well as the Indian film industry. On January 10^th 2025, Sangeet Manapman (movie) is released directed by Subodh Bhave. It is a musical Fairytale that breaks all the old prejudices. It almost feels like a story of today. The story is set in beautiful surroundings. The costume play is supreme, some scenes are visually so pleasing that they almost feel like coming out of a painting of Raja Ravi Verma. The movie has 14 songs, sung by 18 singers. The songs are not mere attachments, they are an important part of the narrative, they take the story ahead.

The old Sangeet Manapman was written by dramatist Krishnaji Prabhakar Khadilkar, the five-act play featured stalwarts like Bal Gandharva, and became synonymous with the golden era of Marathi musical theatre. It was first staged on March 12 1911. The original play had five acts and 53 songs composed by Govindrao Tembe. In that era Manapman used to be enacted for 7-8 hours at times even ten hours because the audience would request once more for almost all songs.

I am giving one of my favourite songs of Manapman sung by Asha Bhosale.  I have been hearing song for past 50 years. Her versatile, high pitch, tana and aalaps are so engaging that I listen to this record almost every week once/twice. This Natyageet exudes Veera-ras , composed in Raag Hamsadhwani. I get goosebump each time I listen to this geet.

People who love music, are usually happier. Listening to music gives peace and joy to the mind, listening to music inspires a person to do something better in life. Ragas do heal when rendered properly, at the right pitch (saptak), with the true vaadis and samvaadis brought forth, and at the correct prahar (time).The samavadi or samvadi is the second-most prominent note of a raga in Indian classical music. The primary note of the raga is the vadi; the vadi and samavadi are in most cases a fourth or fifth apart. Hindustani and Carnatic classical musical considers a Raga as depicting a specific mood. An appropriate mood must be evoked in the listener’s mind before initiating musical treatment. 

Kirwani is a musical scale in Hindustani classical music. It is an Indian raga especially suited for instrumental music. The scale is the same as the harmonic minor in western music. There are shades of Pilu in Kirwani. This raga is said to have been borrowed from the Carnatic music raga Keeravani. Pilu or Peelu or Piloo is a raga of Hindustani classical music. Raga Pilu is a light raga commonly used to express joy, devotion, happiness and love. It is mostly used in light-classical forms, like the Khayal, of north Indian classical style.

Kirwani is known for its haunting and melancholic mood, characterized using specific notes and melodic phrases. It typically employs the notes Sa, Ri, Ga, Ma, Dha, and Ni, with some variations depending on the musical context and artist interpretation.

Raag Kirvai promotes meditation at mental and physical level. The reason it’s so popular is the melodious nature of the scale; it is identical to the harmonic minor scale of western music. In overseas settings, playing Kirwani is a safe bet, as the melody resonates with the audience. where a lot of sparsh/kampan (touching and shivering)etc can be used to evoke the emotion of pathos.

Raag Kirwani is a popular Raag that has been used as the basis for many Bollywood songs. The equivalent scale in Western music is commonly known as the Harmonic Minor scale. The intervals in this scale after the Tonic note are Major 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Minor 6th and Major 7th. It’s a night raga –  2nd Prahar of the Night (9PM to 12AM).

Music directors from the South like Illayaraja and AR Rahman have used Kirwani in their music. Similarly, composers of Hindi songs such as O.P.Nayyar, shankar-Jaikishan, R.D.Burman, Laxmikant-Pyarelala also have used Raag Kirwani for some of their beautiful compositions. I love some Hindi movies songs in Raag Kirwani, I list them here below:

Anewala Pal, Janewala Hai, Movie Golmal (1978), Singer Kishore Kumar, Lyricist: Gulzar, Composer: R.D. Burman

Mein Kahi kavi nah o jaun , Movie: Pyar hi pyar (1969), Singer; Mohammed Rafi, Lyricist: Hasrat Jaipuri, Composer: Shankar Jaikishan 

Pukarta Chala hoon mein, Movie: Mere Sanam (1965), Singer: Mohammed Rafi,  Lyricist: Majrooh Sultanpuri, Composer: O.P.Nayyar 

Main Pyar Ka Rahi Hun, Movie Film – Ek Musafir Ek Hasina (1962),  Lyricist: Raja Mehdi Ali Khan,  Composer: O.P.Nayyar

Beqaraar Dil, Tu Gaye Jaa, Movie Door ka rahi (1971), Singer: Kishore Kumar, Lyricist:  Irshad, Composer: Kishore Kumar & Sulakshana Pandit