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In the previous Musing, I quoted Salilda as saying,
"our raga classification is so vast that almost any melody from any part of the world can be classified as a raga or a misra-raga."
Today I present a contrary point of view, which is actually closer to my own opinion.
Recently, thanks to Pavan Jha and Falguni Trivedi Shah, I received a wonderful book titled, Hindi Film Sangeet Ka Safar, Meel Ke Patthar (Hindi), by Vijay Verma. I like the book very much and recommend everybody to get a copy. On Page 333, shown here, Vermaji says,
My translation:
In 'Dhunon Kee Yatraa' Pankaj Rag, in his well-written chapter centered on Hemant Kumar, has counted about 30 of his songs in Hindi films as based on Ragas. But here I would beg to differ a bit. The question is, did we ourselves find a Raga in an already completed song, or, the composer himself has composed the song keeping in mind that Raga? If we try to find a Raga, and do not hesitate to stretch things, we can find Ragas everywhere or we can impose Ragas on everything, but this is not meant by a song-based-on-a-Raga.
Now You Know!
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This is from a PhD dissertation in Hindi, submitted to a university from Jhansi in 1989.
In Hindi poetry, Upma Alankar is a type of rhetorical device that involves drawing a comparison between two things, using words like "like" or "as," to highlight a similarity or shared characteristic.
It's a form of simile.
Some examples follow:
Upmaa
1- Chaand si mahbooba ho meri, kab maine aisa socha tha.
2- Ban than ke main bhi le nikli, jaise saawan mein chamke bijli.
3- Kaari raina ke maathe pe chamke chaand si bindiya.
4- Tapasviyon si hain atal ye parvaton ki chotiyaan.
5- Khile phoolsi teri javaani, koi bataaye kahaan kasar hai.
6- Nainon mein amrit ke pyaale, tan neelgagan sa nirmal hai.
7- Chandra saa mukhda tha uska, chandra-mukhi tha naam.
8- Moti jaisa rang, rang mein ras ka saagar lahraaye.
9- Gaure gaure chaand se mukh par kaali kaali ankhen.
10- Lachke mori sutlisi jo kamariya.
Now You Know!
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In the previous post, I wrote about the actor Amarnath. As usual, Arunkumar Deshmukh wrote about many different Amarnaths. This info is also avaiable in his book on the subject.
Posting a picture of Pandit Amarnath who gave music for Garam Coat (1955). The picture is from a book written by him on his guru, Ustad Amir Khan.
Of course, he is different from the earlier music director of the same name who gave music to films like Mirza Sahiban (1947).
nyk
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