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.

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.

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

I am writing this post for Valentine’s Day which is an annual festival to celebrate romantic love, friendship and admiration. Every year on 14 February people celebrate this day by sending messages of love and affection to partners, family and friends. Every person may have individual experiences of unconditional love and attachment. It can be wrong to pressure yourself to find true love; if you have yet to experience a genuine connection with another person or feel a sense of comfort with them. The song koi sone ke dilwala, koi chandi ke dilwala implies that love is fragile, it isn’t strong.

कोई सोने के दिलवाला कोई चांदी के दिलवाला,
शीशे का है मतवाले तेरा दिल,
महफ़िल ये नहीं तेरी दीवाने कहीं चल.

There’s someone who’s heart of gold, some other’s heart is of silver, my heart is of glass (fragile). This song is shot in a party. The hero of the song says this party does not belong to him he consoles himself by saying dear crazy mind let’s move on. Lyricist Majhrooh Sultanpuri wrote this song for film Maya (1961) sung by the great Mohamed Rafisab, composed by Salil Chowdhary and filmed on Dev Anand. This is one of the superhit songs and remains timeless. This song will never die. Generations will listen to it. Long live Mohd. Rafi Sab.

Sone ke dilwala means someone who is exceptionally kind, generous, and compassionate, someone who is loyal with a willingness to help others without expecting anything in return.  And, silver hearts represent a romantic heart, someone who is deeply in love with something, or a person. A heart of glass means someone who is easily hurt or emotionally fragile, like glass which can break easily, suggesting that their feelings can be shattered quickly by a minor setback, one who gets disappointed; it describes a person who is highly sensitive and prone to emotional pain. 

While many would ideally choose “heart” over “money,” in reality, when faced with a difficult decision between following one’s passion (love) or pursuing financial stability, people often tend to prioritize money due to the practical need for security and necessities, even if it means sacrificing the love of his/her life.

The word love has depth.  We don’t love easily. Love is not a universal experience; some   people might feel an immediate attraction as falling in love quickly, for others, developing deep love takes time and getting to know someone well. This means there’s no single answer to whether someone “gets love easily” as it varies greatly from person to person depending on factors like inner personality, character, outer personality, intelligence, earnings, attachment styles, and life experiences. 

Every person who falls in love experiences variety of pains and pleasures of love. Each person has his/her own character and personality; they have different backgrounds and conditions. So, there is no set of rules that applies equally to everyone. Also, whom a person dates also is a matter of personal choice. No one has any right to intrude in anybody’s private affair. The youngsters say, not even their parents have any rights.  But our heart and gut do give us signals about the right or the wrong person. Do we hear to the signals?

Because people often lose all objectivity when they fall in love, it is said ‘Love is blind’.  The song koi sone ke dilwala, koi chandi ke dilawala’s last stanza says that this party isn’t really my vibe, I think it’s time to head out because I am not enjoying it any longer. I should get out of here.  This means the hero feels like he doesn’t belong to that gathering, and it would be better to leave and seek out a different social environment that aligns more with his interests or personality.

How a person experiences pain is unique to each one. Attraction and affection don’t stay the same, and love can feel different for each person. Love too has a lifecycle – introduction, development, growth, maturity and in some cases decline. A person may experience and express love differently from another person. Some people have intense feelings that they are unafraid to express, while others take time to open or prefer to show love in subtler ways.

Also, people demonstrate their love for others in various ways. Whether through acts of service, physical touch, quality time, words of affirmation, gift-giving, acts of kindness, sacrifice, or support, the key is to find the expression that resonates most with your loved ones. Essentially, “everyone’s pain is different”, “everyone’s experience of love is different”. Listen to this beautiful song.  Happy Valentines Day!

This song memorises me; its picturized-on actor Motilal and Raj Kapoor in the movie “Jagate Raho” Raj Kapoor in his hey days has acted in this movie directed by Sombhu Mitra and Amit Maitra. Raj Kapoor was young and known for his romantic roles. In this movie he hardly had any dialogues.

The story written by KA Abbas; the movie was a courageous endeavour because it was an experimental movie to inform a poignant story of an anonymous, destitute guy who simply desires to have little water to quench his thirst. But the society is unaware of the numerous poor people’s small needs.  The movie is set during a nighttime in a residential complex. We often associate darkness with negative, end, ignorance and evil while light is associated with life, goodness and knowledge. But there is beauty in darkness. In darkness, we understand our real self, we know what we are and what we are not. In darkness, we know that there is more we cannot see.  

The protagonist Raj Kapur during that night, is mistaken to be a thief by the police officers, he runs away and therefore throughout the movie he is shown in panic state. The movie is a parody of the so-called respectable people staying in high end colony are selfish, frauds in society. They are heartless. The police who fake to be the guardians and ethical gatekeepers of society are muggers themselves. Watching the hypocrisy of those educated guys leaves the hero baffled as he receives a glimpse of the ill-mannered humans of the so-called civilised humans. Released in 1956, Jagte Raho was ahead of its time. 

The song zindagi khwab hai is picturized on actor Motilal who is shown drunk, and Raj Kapoor hides from him. The song starts with Sant Kabir’s doha which is expressed as Rangi ko narangi (colourless) kahe, jale doodh ko khoya (lost) Chalti ko gaadi kahey Dekh Kabira roya. Kabir describes the nature of man which makes him live in a world of paradoxes. A fruit has a wonderful colour and man calls it narangi (colourless). Cooked, sweetened milk is called khoya which means lost in Hindi. The one which is on the go is called Gaadi which means buried in the ground. Taking a cue from this very situation, Kaviraj Shailendra takes these paradoxes further to say Zindagi khwab hai, Khwab mein jhooth kya aur bhalaa sach hai kya. Life is an illusion – a dream; in a dream, nothing is true and nothing false. 

Motilal excels in this role of a drunkard, singing this song which is sung incredibly by Mukesh. The song shows compassion in Raj Kapoor befriending a street dog. Composer Salil Chowdhury uses oboe (a wood-wind instrument), flute and xylophone to lighten the atmosphere. The song is about paradoxes. Raj Kapoor plays a natural destitute, he brings a smile on your face automatically. In comes the drunk Motilal singing the above Kabir doha and rest of the song. The super lyricist Shailendra lifts the mood as the song progresses.

Ek pyaali bhar ke maine, gham ke maare dil ko dee, zeher ne maara zeher ko, murde mein phir jaan aa gayi. A paradox again: a dead comes alive after having a sip of the alcohol. Kaviraj Shailendra surpasses here indicating there’s so much poison in our hearts, we are as good as dead. The influence of alcohol changes all that, we become alive after having alcohol.

The picturisation fittingly supports the song. Motilal wearing a crisp white dhoti and kurta with a garland in his neck indicates that he belongs to the richer class of the society. He is drunk and in the intoxicated state he sings on the streets at night least bothered about his position. Lyricist Shailendra wanted to give subtle advice to the listeners that life is momentary, live in present, in this moment. Live your life as it comes, live happily. It is just a dream, an illusion and is going to pass away. Yet it is real because you are living. The trouble is that you are befuddled by hope, dream, desire, need and wants which are never ending.

Listen to the most profound song:

A music genre is a standard category that finds some pieces of music as belonging to a shared tradition or set of conventions. Genre is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Each genre has its own following. Some listeners give importance to the lyrics while some give importance to the tunes. There are many songs with such great hummable music but are weaker in lyrics. There are also some songs which have great lyrics but are weaker in music. And there are songs with good music and good lyrics but are sung pathetically by the singer. While we all would agree that it is music that gives our ears and mind the feel, rhythm, vibrancy etc because music has the power to lift each word of the lyric.

A song has power to touch the right chords of the heart. Soothing music pumps up our feelings and emotions. I believe the lyrics are significant for every adult, trying hard to build a life and dealing with stress.

Music can be divided into genres in numerous ways. In 1982, Franco Fabbri proposed a definition of the musical genre that is now considered to be a final standard.  A music genre or subgenre may be defined by the musical techniques, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie contends that, since the early 1980s, “genre has graduated from being a subset of popular music studies to being an almost universal framework for constituting and evaluating musical research objects”. Musicologists have strongly recommended that musical genre adds to the beauty of music.

The best way to describe music, with its complex melody and composition, is by the mood and range of emotions it invokes in us. Understanding how music affects us reveals that the subjective experience of listening to different songs can be mapped within at least 13 main feelings. These include amusement, joy, eroticism, beauty; relaxation; sadness (including both melancholy and grief); patriotic; subconscious or trance-like state; triumph (such as in ceremonial anthems); anxiety (worry); scariness (touching on fear such as horror films); and annoyance, with defiance thrown in for good measure. This spectrum of emotional responses illustrates the powerful connection between music and emotion in human psychology. Music is an essential part of our daily life. It can be therapeutic and helps to relax our mind.

Music helps people heal on a physical level by providing relaxation techniques that reduce stress levels and improve cognitive function. It also provides emotional healing by helping us express feelings of grief, fear or sadness which often accompany hospital stays or end-of-life situations. There are musical therapists who cure patients with ailments such as cancer.

Classical

Indian classical music is based on the concept of ragas, which are melodies that evoke certain emotions in the listener. Some of the most popular ragas used in Indian music include Bhairav, Yaman, Malkauns, Todi, Bhupali, Marwa, and Darbari. Each raga has a distinct melodic structure and is associated with a particular time of day, season, and mood. Indian classical music is the conventional music of the Indian subcontinent. It is generally described using terms like Shastriya Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. Even the English classical music is related to formal European music of the late 18th and early 19th centuries, characterized by harmony, balance, and adherence to established compositional forms.

Orchestra

Orchestral music is composed on instrumental combination of varying size of instruments. It is more of Western style by using string instruments such as guitar, mandolin, banjo, cello, violin etc.  the word stems from the Greek orchestra.

Melodic

Something that’s tuneful or pretty to listen to is melodic. Melodies are the part of music that is above the chords and rhythm. Musical notes played in a specific sequence that is easy to remember and that forms its own unit is the definition of melody. There These songs are usually crafted with a meaningful lyric usually written by intellectuals or distinguished poets. The lyrics are then given a suitable music.

Blues/sad songs

A person may experience “feeling blue” if he/she is feeling down, depressed, lonely. Sometimes it is possible to feel blue for no apparent cause, the mood just goes low. And at some other times, the mood dampens for reasons. People with the blues might feel unhappy or tearful, lack energy or motivation, or isolate themselves. Sadness often occurs at the same time as other feelings, such as anger, stress, guilt, grief, anxiety, or hopelessness. Sometimes, the other feeling may be so strong that they don’t realise they are sad.

Romantic

Romantic love is a feeling of love for someone, or a strong attraction towards another person, and the courtship behaviours undertaken by an individual to express those overall feelings and resultant emotions. Romance refers to the actions and feelings of people who are in love, especially behaviour which is very caring or affectionate.

Jazz, swinging

A jazz singer might be a vocalist who swings and creates magic. It might be a performer who phrases lyrics like an instrument or employs wordless scat (hiss) sounds in place of verses. Jazz is a music genre that originated in the African American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues and ragtime (in 1890s and 1920s). 1920s is called the Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music.  Jazz music is often considered soothing due to its use of beautiful harmonies, swung rhythms, and improvisation.

Hip-Hop/Rap

Hip-hop, also known as rap, and formerly known as disco rap, is a genre of popular music that originated in the early 1970s by African Americans and Caribbean immigrants in the Bronx, a borough of New York City. Is a genre of music most often characterized by a strong, rhythmic beat and a rapping vocal track. While several people were influential in the creation of hip-hop, much credit is given to Clive Campbell, a Jamaican immigrant who was the first major hip-hop disc jockey.

Folk Songs

Folk music is an important part of India’s musical heritage and is characterized by its own unique rhythms, melodies, and lyrics.  The term folk music denotes many kinds of music; the meaning of the term varies according to the part of the world, social class, and period of history. Music enthusiasts derived folk music from patterns of spread, social function, origins, and performance.

Indian folk music is diverse because of India’s enormous cultural diversity. It is sung in various languages and dialects throughout the length and breadth of this vast nation and exported to different parts of the world owing to migration.

The central traditions of folk music are transmitted orally; they are learned through hearing rather than the reading of words or music, ordinarily in informal style. In the 20th century, transmission through recordings and mass media began to replace much of the face-to-face learning. In comparison with art music, which brings cultural and musical enjoyment. Hindi cinema has made folk music very popular: Bhangra, Dandiya Raas, Hekaileu, Lavani, Sufi, Zumair and Pandvani are some folk song styles.  

MBA is a practical course. The business managers are hired by organizations to solve problems.  Pointing problem is easier, but what after you find a problem? You are expected to find solution to the problem. You are expected to find a course of action. There’s no right answer, but you must deal with the complexities of the choice you make. At Havard Business School the classrooms are filled with people from diverse industries, functions, countries, and backgrounds. The main pedagogy is solving case studies. Harvard prepares you for the business world with case study analysis almost every day.

The case method prepares you to become a leader. It makes you ready to face leadership positions in which you will face time-sensitive decisions with limited information. Reflecting on each class discussion will prepare you to face these situations in your future roles.

Harvard focuses on the drivers of enterprises in China and India by building cases on over a decade of work with companies, investors, and non-profit organizations. This Business School produces some 400 new teaching material each year. One of the advantages of the case method, as opposed to a textbook is that the material can be kept constantly up to date, reflecting what’s going on and what’s changing in the world of business. This is particularly important in a rapidly growing economy like India’s. The cases are based on real companies, real people, real developments, and actual situations.

Harvard Business School (HBS) is expanding its presence in India through adoption of more India-based case studies by offerings new cases in Executive Education. The base of Indian case studies has risen to some more than 500 during past few years. There are a lot newer India-focussed cases coming up in the next few years. Professors and students are still concentrating on building this up, gathering and creating more teaching material. It will take some time as it is a long process, and a lot of work goes into it.

Why India?  Indian stock market is poised for healthy growth in the medium to long term because of a strong economic growth, expectations of political stability after the General Elections 2024 and the stronger influx of domestic retail investors. Besides this, numerous industrial zones, workforce and labour availability, lower labour costs, and a relatively open environment for foreign direct investments. India’s large labour and consumer base, low operating costs, and linkages to important international markets makes Indian markets attractive.

India remains one of the world’s fastest growing major economies although it faces challenges common to many other countries such as inflationary pressures, commodity price volatility, and supply chain interruptions in the aftermath of the COVID-19 pandemic and Russia’s ongoing war in Ukraine. The United States-India relationship remains resilient, with total trade in goods and services topping $191 billion in 2022, almost double the amount recorded in 2014. India’s economy grew at 7.2 percent over the April 1, 2022-March 31, 2023.

India, with its young population and rising disposable income has become favourite destination for consumer brands. When Tim Cook arrived in India last year to open Apple’s first physical store in the country, he was welcomed like a hero. Cook’s visit exemplified the rising tide of interest that corporations and governments are showing in doing business with India. Just days after his landmark trip, ‘Pret A Manger’, a trendy British sandwich chain, set up its first outlet in the commercial capital of Mumbai, as it bet on the country’s growing middle class.

India is the United States’ ninth-largest trading partner, with U.S. goods and services worth $73.1 billion sold to India in 2022. The United States maintained its position as India’s largest trading partner, with $118.8 billion of imported goods and services. The United States was expected to continue its trade deficit with India in 2023. India partnered with the United States and eleven other countries to launch the Indo-Pacific Economic Framework for Prosperity in May 2022, a high-standard agreement that aims to produce benefits that fuel economic activity and investment, promote sustainable and inclusive economic growth, and benefit workers and consumers.

So, at Harvard, professors choose Indian cases to fill a specific need in their course syllabus. They then contact a particular organisation, which agrees to host them and be as transparent as possible about the issue or problem, success, or failure under consideration. The overwhelming majority of HBS cases are field-based, not library-based, which means that the professor and his/her research associate will travel to the company and study it on-sight. This includes a series of interviews and revisits. The findings, conclusions and observations need to be done in a selected timeline because Indian markets are changing swiftly.  

The Indian Research Centre (IRC) was established in 2006, based in Mumbai, around 20 cases related to India have been published each year. Prior to that, there were fewer cases being written in India. This is reflective of a broader trend in business education around the world. Before the year 2000, business schools and Executive Education curricula did not have significant global content. Today, given the global macroeconomic scenario and the importance of understanding how to do business in emerging economies, there is greater need to create global content.

The India Research Centre produces a portfolio of cases that focus on a variety of topics, including business, government, regulation, law & order, social, ecological, etc. Cases also go beyond traditional business topics. A famous case for example by Harvard Professor Rohit Deshpande, dealt with leadership and teamwork among employees of Taj Mahal Palace, Mumbai during the terrorist attack in the year 2008.  Another example is a case by Professor Stefan Thomke on the Dabbawala meal-delivery system in Mumbai. The service is offered in the last 130 years.

Havard cases are also taught in business schools around the world, as well as in other Executive Education programmes and company training programmes around the world. Indeed, India is most unique and heterogeneous market in world.

In 2009, archaeologists excavating a cave in southern Germany discovered a flute carved from a vulture’s wing bone. The delicate artifact is the oldest known musical instrument on earth which indicates that people have been making music for over 40,000 years. Research proves making music is a universal human trait that dates back 35, 000 to 40,000 years.  Although we can’t be sure exactly when human beings began listening to music. Scientists have proved listening to music benefits all living beings – human, plants, birds, and animals.

Most people get tears, chills, tingles while hearing music. These are physiological responses which activates the parasympathetic nervous system, the parasympathetic nervous system occurs in quiet “rest and digest” conditions. Studies have shown that around 25% of the population experience this reaction to music.

Music activates many parts of our brain, including the so-called limbic system of the brain. It is the part of the brain involved in our behavioural and emotional responses to world around us. Limbic system is involved in motivation, passion, learning, and memory. In fact, music is known to stimulate almost every part of the brain. One of the most important functions of music is to create a feeling of organization or social connectedness.

Evolutionary scientists say human beings may have developed a dependence on music as a communication tool because our ancestors descended from the stone age. Music remains a powerful way of uniting people. Neanderthals (an extinct species of human who lived in ice-age) probably didn’t have the vocal cords or cognitive capacity for complex verbal communication. That’s something that developed with humans, and researchers think music is a direct product of this cognitive development. In fact, music is even seen as a form of language by many anthropologists.

Rhythmic entrainment: This refers to a process whereby an emotion is evoked by a piece of music because a powerful, external rhythm in the music influences some internal bodily rhythm of the listener e.g. heart rate. For example, the National Anthem connects us with our nationality, we love our country, therefore we feel proud that we are the people of this country. Our National Anthem ‘Jana Gana Mana’ infuses pride and patriotism in us. The anthem highlights India’s national heritage and demonstrates patriotism and loyalty to one’s country.

Protest songs stir a sense of shared purpose during marches. Protest songs are often situational, having been associated with a social movement through context.  For example, in Dileep Kumar starrer movie Shaheed (1948) “Watan ki raah me, watan ke naujawan shaheed ho” song motivated the independence movement in hearts of thousands of youngsters.  

Hymns build group identity in houses and worship in social gatherings of worship. For example, ‘Bhaj Govindam’ which defines the composition and gives it its name invokes the almighty in the aspect of supreme god Shree Krishna; it is therefore very popular not only with Sri Adi Shankaracharya’s immediate followers but all Hindus.

Love songs help prospective partners bond during courtship. For example, ‘pal pal dil ke paas’ sung by Kishore Kumar from film Blackmail (1973) lifts the soul and many listeners get goosebumps while listening to the song.  The picturisation, the lyrics, the tune everything   is superb. Music has a powerful way of evoking emotions and connecting with our feelings. The theme of love, longing, and relationships are universal, and listeners find comfort or enjoyment in exploring these emotions through music, even if they are not currently experiencing them in their personal lives. Music allows you to connect with the universal human experience of love and emotions.

Lullabies enable parents and infants to develop secure attachments. Lullabies calm down babies and put them to sleep. It is a soothing song with the perfect balance of rocking music that lures the baby into sleep. Nursery rhymes have been a time-tested bedtime routine by parents over the years. Babies respond to lullabies; they calm down because they feel secured. “Surmai akhiyon me” from film Sadma (1983) is a beautiful lullaby sung by K.J.Yesudas is evergreen song today after 4 decades.

Doctors at Johns Hopkins suggest listening to music to stimulate our brain. Scientists know that listening to music engages our brain; they can see the active areas light up in MRI scans. Researchers have proved that listening to music can motivate people wanting to learn more. A 2019 study has proved that people were more motivated to learn when they were told that they would listen to a song as their reward. Music improves memory.  Music memory is one of the brain functions most resistant to dementia. That’s why some caregivers have had success using music to calm dementia patients and build trusting connections with them.

Conclusion

Music is universal.  It is considered the universal language. The reason is that it exists in every society, with and without words. 

Mohammed Rafi could sing a ghazal, bhajan, a whacky composition, romantic song, soulful song effortlessly. He had a distinctive ability to adapt his voice with the screenplay and characters. He rendered his voice to almost all heroes and character artists in the golden era. Try to remember the phenomenal song “Sar Jo Tera Chakraye” featuring Johnny Walker. It seems Johnny Walker felt as if he himself is singing the song because Rafi managed to adapt and acclimatize Walker’s onscreen personality perfectly into his singing. The song is composed by SD Burman which apart from advertising the benefits of a head massage, is also Walker’s loving call to his audience to shed their worries and relax while taking a head massage. Jhony Walker sings the song gleefully advocating a carefree lifestyle.  

https://www.youtube.com/watch?v=jjlFiCD1Vgc

Few songs from the golden era of Bollywood movies are so soulfully sung that everyone craves to listen to them. Today I am going to present few songs created by Mohamed Rafi and O.P.Nayyar. Most of the songs created by this duo are simply marvellous which you feel like listening again and again. This singer-composer duo broke all records in the industry. Some of the most popular songs from this playlist are Lakhon Hain Nigahon Mein; Roka kai bar meine; Muze dekhkar aapka muskarna; Hamdam Mere; Dil Ki Aawaaz Bhi Sun, and the list goes on and on.

It would certainly not be an exaggeration to say that some of the yesteryear heroes are known more for enacting/lip-sync Rafi’s songs rather than their performances like Bharat Bhushan – “Zindagi Bhar Nahin Bhoolegi Woh Barsaat Ki Raat” or Biswajit’s – “Pukarta Chala Hoon Main,” or Joy Mukherjifor “Banda Parwar, tham lo jigar,” and Pradeep Kumar for “jo wada kiya hai, nibhana padega.”  

Yasmin who is daughter in law of Rafi writes in her book “My Abba a Memoir” that Rafi sang almost all the songs of O.P. Nayyar for around 27 years! Only in a stray case here or there, did others, including Mukesh and Kishore Kumar, get a chance to sing under the baton of Nayyar.

Nayyar-Rafi bond is not the only notable inclusion in Yasmin’s lucidly written book. She gives a nice insight into the mind set of Shankar-Jaikishen too by revealing that the famed duo always used Mukesh as the voice of Raj Kapoor, used Rafi’s voice when they worked for other banners. So much so they used his voice in Barsaat in 1949 and later in Ek Dil Sau Afsaane too. Interestingly, Shankar-Jaikishen used Rafi’s voice for the Kishore Kumar starrer Shararat. Rafi’s song ‘Ajab Hai Dastan Teri Zindagi’ was picturised on Kishore Kumar!

Interestingly, for all those who thought Rafi gave off his best for some heroes and music directors, Yasmin has a revelation. She says, “Abba had his individual style when preparing his songs….when he sat down to practise a song, his hands and feet would keep rhythm to the soft murmur of his voice. The key to the effectiveness of his singing was that he would shoulder the entire responsibility of his songs. Nothing else matters; not who the song was picturized on, whether the music director was a giant or a newcomers, the name of the lyricist, or even the film.”

https://www.youtube.com/watch?v=oQ0TgHmObxA

The singer’s versatility was unmatched. There was hardly an artiste who did not sync his lips with Rafi’s voice. Kishore Kumar, another doyen of the times, held him in very high esteem. Rafi sang twice once in movie Ragini where Rafi crooned “Man Mora Banwara” to O.P. Nayyar’s music and in movie Shararat when Shankar Jaikishen composed “Ajab hai dastan teri hai zindagi”, it was Rafi who sang for Kishore.

The trademark of the notable singer was that he had great humane values as well. When Laxmikant Pyarelal embarked on their musical journey, Rafi just accepted Re 1 as token money for his first rendition under their baton, while wishing them a bright and musical future. Many of his philanthropic activities came to light post his demise as some of the beneficiaries went to his home to pay their respect. Every singer has clones but no one could ever imitate him completely because of his high rigorous standards. Even at the peak of his glory, he always rehearsed before going to the recording room.

There was a time when Rafi and Lata Mangeshkar had differences over the royalty issue, sending the entire industry into a panic mode. Shankar Jaikshen, the top most composers of the time, who also provided music for innumerable Lata hits, chose to side with Rafi when it came to recording duets. Lata was replaced by either Suman Kalyanpur or Mubarak Begum. But to everyone’s relief, the dispute was short-lived.

Rafi sometimes didn’t take his professional fees when he got variety to sing; in 1965 Rafi sang for Firoz Khan in the film ‘Oonche log’. Majrooh Sultanpuri wrote an evergreen number: Jaag dil-e-deewana, rut jaagi, vasle-yaar ki. When Rafi got to know that it was to be picturised on an anglicised and philandering Firoz Khan, he asked him, ‘Miyaan, bada rangeen gaana hai. Zara apna andaaz dikhaiyega’ (Man, it’s a very romantic song, display your charm onscreen). When the composer Chitragupt offered him Rs. 4,000 for the song, he said, ‘Shukriya. Rooh ko sukoon mila. Mujhe aur kuchh nahin chahiye’ (The soul got satisfaction. I don’t want anything else).                       

His generosity was legendary. A friend recounts that when a beggar asked him for money, Rafi gave him all the money he had. “Don’t you count the money before you give it,” asked the friend. “When God doesn’t count what he showers on me, why should I count what I give others,” he remarked.

Mohd Rafi was humble, a teetotaller, virtuous and family man. He was a role model to many upcoming singers of that era like Mahendra Kapoor, Shabbir Kumar, and Anwar etc. He was the best male playback singer of his generation and still remains the best Hindi male playback singer of all times.

Mohd Rafi ruled the film industry for almost 36 long years. He was most regarded singer; he never ever played foul with any singers, he never used his power with composers to sabotage the career of any promising and upcoming singer. In fact, he would encourage them to give their best. Rafisab used to love eating, he was foodie. He enjoyed playing badminton and carom.

I pay my heartfelt tributes to him forever.