Modernism is an aesthetic stance that underpins a period of change and development in musical language around the turn of the 20th century in music. It was a period of diverse responses to challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews that were closely related to the larger, identifiable period of modernism in the arts of the time. Modernism was present in “Innovation” is the word that best describes it.
Artists have turned to beautiful fusions as a result of the rise of technology and vision, which, to put it mildly, is often mind-blowing when you realize that you can do so much more than just make music. You can celebrate tradition and the new age together, not forgetting the roots while trying to create something new.
The popularity of postmodernism in music is on the rise, and anyone can achieve greatness with the right tools. Traditional music isn’t any different.When you can bring classical music back with a twist, who said it had to stand on its own? This fusion technique has been perfected by a number of artists, demonstrating once more that music is a representation of all cultures.
The earliest forms of music in Bengal were influenced by Sanskrit chants and Vaishnav poetry, such as Jayadeva’s Gitagovindam from the 13th century, which is still sung in many eastern Hindu temples. When the musical tradition was formalized under the patronage of Sultan and Nawabs and the powerful landlords baro bhuiyans, there was a mixture of Hindu and Islamic trends.
The Hindu devotional songs of Ramprasad Sen, a bhakta who captures the Bengali ethos with his poetic, rustic, and ecstatic vision of the Hindu goddess of time and destruction in her motherly incarnation, Ma Kali, comprise a significant portion of the early canon. Vidyapati was another writer at the time. The earthiness of this devotional poetry, which does not distinguish between carnal and devotional love, is notable. A few see associations among this and Tantra, which began at some point in the center of the main thousand years.
The only Classical (Drupad) gharana in Bengal is the Bishnupur Gharana. It was created by the Malla Kings’ court musicians in Bishnupur, Bankura. Bahadur Khan of Delhi, a relative of the Tansen, was the father of Bishnupur Gharana. Malla King Raghunath Singh II brought Bahadur Khan to Bishnupur.
The over 500 songs in Dwijendralal Ray’s Dwijendrageeti (the Songs of Dwijendralal) create a distinct Bengali music subgenre. Two of Dwijendralal Beam’s most renowned pieces are Dhana Dhanya Pushpa Bhara and Banga Amar Janani Amar. Ray is regarded as one of the most important figures in early modern Bengali literature.
In Paschimbanga, Atulprasadi, one of the most important early modern lyricists and composers, is also well-liked. It is said that Atul Prasad introduced the Thumri style to Bengali music. His songs were about three main themes: love, devotion, and patriotism.
Prabhat Ranjan Sarkar wrote the songs for Prabhát Sagiita, which are also known as Prabhat Songs and Songs of a New Dawn. From 1982 to his death in 1990, Sarkar used eight different languages to compose a total of 5,018 songs, including the tune as well as the lyrics, using eight different languages. Bengali, Hindi, English, Sanskrit, Urdu, Magahi, Maithili, and Angika are the languages used.
Dr. Susmita Datta who is not only an excellent mentor at one of the best institutions in Florida, she is also a passionate singer and one of the best Indian singers in Florida. She has made her place amongst Floridians not just for her knowledge but also for introducing Indian music to a foreign land. She brings in the heritage of Bengal with her music and has excelled in the field, reaching home to all her listeners.
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