Classical music

Rabindra sangeet (Tagore Songs)

Rabindra sangeet (Tagore Songs) is the best-known genre of Bangla music outside Bengal. The main origin of Rabindra sangeet is the works of Nobel laureate poet, novelist and play writer, Rabindranath Tagore.

Rabindra sangeet itself is broadly classified into few sub-genres:

• puja porjai (prayer songs)
• prem porjai (love songs) [some argue prem porjai is actually a part of puja porjai]
• bichitra porjai
• swadesh porjai (patriotic songs)
• (seasonal songs)

All categories are tied by a common theme of philosophy and love. Tagore also composed most of the songs himself. Hence, a common compositional similarity is visible. All songs are based on minor variations of Sub-continental musical modes or ragas.

Rabindra sangeet forms an integral part of almost any Bengali cultural festival and is seen as one of the most important parts of Bengali cultural heritage. These songs have also been used in several movies, both in Bengali and non-Bengali cinema. The national anthems of both Bangladesh and India are Rabindra sangeets; these are "Amar Shonar Bangla" (Oh My Precious Bengal) and "Jana Gana Mana" (Ruler of the Minds of All People, written in an older form of Bangla, closer to Sanskrit, that can be readily re-interpreted in almost all Indian languages) respectively.

Nazrul geeti (Nazrul Songs)

Nazrul geeti, (Nazrul Songs) are the works of Kazi Nazrul Islam, national poet of Bangladesh and active revolutionary during Indian independence movement.

Unlike Rabindra sangeets mentioned above, Nazrul geetis incorporate revolutionary notions as well as more spiritual and philosophical themes. Islam used his music as a major way of disseminating his revolutionary notions, mainly by the use of strong words and powerful, but catchy, tunes. Among the revolutionary songs, Karar Oi Louho Kopat (Prison-doors of Steel) is best known and has been used in several movies - especially those made during the pre-independence period of Bangladesh.

Nazrul also incorporated influences from Western India. He played an active role in carrying out a fusion between Western Indian ghazals and traditional Bengali classical music. (Ghazals are poems in Urdu presented with a semi-classical tune, popular in Western India.) Nazrul geetis that do not incorporate themes of protest essentially form what is now called Bangla ghazal. The music involves variation on ragas (modes) along with complicated timing based almost entirely on vocal work and complex structure.

Due to Nazrul's revolutionary nature and lifestyle, Nazrul geeti was not mainstream for a very long time. Bangladeshi singer and composer, Feroza Begum, played a very big role in popularising Nazrul geeti in both Bangladesh and West Bengal.

Folk songs

Bangla folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularising folk music later on.

Folk music can clearly be distinguished and classified into several sub-genres:

• Baul: mainly inspired by Lalon Fokir and his Sufi way of living and almost exclusively performed by hermits who have adopted such (Sufi) life style
• Bhandari: devotional music from the South (mainly Chittagong)
• Bhatiali: music of fishermen and boatman, almost always tied by a common raga (mode), sung solo
• Bhawaiya: song of bullock-cart drivers of the North (Rangpur)
• Gajir geet: tradition song from the North (Rangpur)
• Gombhira: song (originating in Chapai Nawabganj, in the North) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his grand father, discussing a topic to raise social awareness
• Hason Raja: devotional songs written by music composer Hason Raja (from Sylhet near Assam) that was recently repopularised as popular dance music
• Jaari: song that involves musical battle between two groups
• Jatra gaan: songs associated exclusively with plays (performed on-stage) that usually always involve historical themes presented in a very colourful way
• Kirtan: devotional song depicting love of Hindu god Krishno and his (best-known) wife, Radha
• Pala: songs from the haor (lake) area in Sylhet, Kishoregonj, and Netrokona usually performed on stage live by folk singers
• Kobi gaan: poems sung with simple music usually presented on stage as a musical battle between poets
• Lalon: best known of all folk songs and the most import sub-genre of Baul songs, almost entirely attribute to spiritual writer and composer, Lalon Fokir of Kustia (Western Bangladesh, near the border with West Bengal)
• Mursiya: Islamic songs of devotion of the Shi'ah groups based mainly on Western influences
• Shaari: song of boatmen sung in group to match the beat of the oar movement
• Upojatiyo: songs of the minor ethnic groups - worth noting, this is not really a classification since songs of these ethnic groups (of which there are at least 13 different groups) vary widely and have very distinct and intriguing characteristics
• Letto's song: songs from Mymensingh (North of Dhaka) that also allegedly influenced Nazrul geeti
• Wedding songs: sung all over Bangladesh but always tied by similar tunes and by, obviously, a common theme, marriage

Of these several groups, Baul song is best known and was further enriched by works of Lalon.

All folk songs are characterised by simple musical structure and words. Before advent of radio, stage performances of folk singers used to be possibly the only entertainment for the vast rural population of Bengal. After arrival of new communication and digital media, many of the folk songs were modernized and incorporated into modern songs (Adhunik songeet).

Baul gaan

Baul geeti has been such a huge influence in Bangladeshi music that it deserves being called a genre on its own. However, although Baul geeti can be characterised by particular nature of music and presentation, in general, the genre is actually also defined by a definite cult. In order to understand Baul geeti, it is necessary to understand its creators.

Baul geeti is almost exclusively performed by Bauls (hermits) who are followers of Sufism in Bangladesh. (Note that traditionally bauls were Hindus; Sufism was started following the lifestyle of Lalon Shah.) In Bangladesh, in the early days of Bauls who claimed to be Muslims, with greater focus on love of the society and harmony with nature, baul geeti had to go through a major struggle of survival as did the Bauls themselves. Bauls were subjected to harsh teasing and isolation. However, with time, Islamists were forced by the general population to accept the Bauls and their spiritual music as part of the society.

Current day Bauls in Bangladesh are Sufis and have given up claims to be Muslims. Most live simple lives on an absolute minimum, earned mainly from performing their music. Baul songs always incorporate simple words expressing songs with deeper meanings involving Creation, society, lifestyle and human emotions. The songs are performed with very little musical support to the main carrier, the vocal. Bauls, bohemian by nature and belief, leave on grand expeditions, writing and performing music on their entire trip to earn living and disseminate notion of love and spirituality.

Ektara (literally, the one-string), dotara (literally, the two-strings), ba(n)shi (flute made from bamboo shoot)) and cymbals are used in the presentation of Baul geeti. Although, in recent days, Baul geeti has lost popularity mainly due to disruption of the lifestyle of the bauls by urbanisation and westernisation, the songs have permanently altered Bangla music, especially in the form of Lalon geeti.

Baul songs were hugely promoted by Fokir Alamgeer and Feroz Shahi in Bangladesh.

Lalon geeti

Lalon geeti is the work of composer and philosopher, Lalon Shah (also known as Lalon Fokir). Most of his songs are extensions of Baul geeti. However, his songs are always more philosophical in nature, involving greater thought about abstract themes.

Lalon geeti originated in Kushtia and has been popularised throughout the two Bengals (West Bengal and Bangladesh) by various artists. Among the proponents of Lalon geeti, Farida Parveen is particularly worth mentioning for her extensive work in modernising tunes.

Adhunik gaan

Adhunik songeet literally means "modern songs". Although, to outsiders, this may seem an extremely ambiguous way of nomenclature, it has particular motivations.

Bangla music traditionally has been classified mainly by the region of origin and the creators of the musical genre, such as Nazrul geeti, ghombhira, etc. However, this prevented the ability to classify any music that failed to fit into any of the classes.

In the period just before Indian independence (Bengal, under British rule, was made a part of one massive India that does not exactly correspond to the India of current day), several new minor musical groups emerged, mainly as playback songs for movies. These songs failed to fit into any particular genre, but seemed to be tied together by common theme of "music for the masses". Most of the music tended to be mainstream, commercial, voice-based with simple words and catchy tunes that were far moved from the classical ragas (modes). Hence, a miscellaneous category, Adhunik songeet, was created, since, at that time, this music was "modern".

Although over time these so-called "modern" songs have become fairly old, they continue to be called by the same name. Interestingly, this group of song has grown faster than any other, since it is, well, a miscellaneous category that can accommodate anything that fails to fit elsewhere. The common theme continues to exist. So, although the nomenclature itself might not be as insightful, the genre itself is still well-defined. Among the main contributors to Adhunik songeet were several singers from both West Bengal and Bangladesh.

For a very long time, Adhunik songeet played the same role that pop currently plays in the Western World. It was the easy-to-follow and simple song that was fit for people of all age and occupation. It continues to be the most important music among middle-class, white collar Bangladeshi families to this day.

Modern music and western influence

In the post-independence period, Adhunik songeet continued to attract large proportiones of music enthusiasts. However, with time, newer generations demanded more upbeat music. Starting late 80's, music involving political theme have started to gain popularity once again, in a similar fashion to growht of Nazrul geeti had gained popularity during the revolution against the British Monarch and the War of Independence of Bangladesh.

Pop music

Pop music initially started with the so-called "band music", the very name of which depicts western influence. Various pop groups and singers emerged.

The best known bands of the pop era are as follows:

• Feedback
• L.R.B.
• Miles
• Rennaisance
• Souls

The early contributors to pop music also included the following singers:

• Azam Khan
• Baby Naznin
• Happy Akhand
• Lucky Akhand

Worth noting pop music had a mixed history. Many singers of Adhunik music genre and from New wave of Bangladeshi folk music category also worked with pop at some points. In fact, by the very nature of pop it is hard to clearly identify singers, exclusively pop in style.

Rock music

Bangla rock was started by Azam Khan, Miles and LRB. Hassan (associated with Ark) and James (associated with Feelings and, later, Nogor Baul) contributed quite a bit (although more so to pop/rock than to metal/rock). However, hard core rock did not begin until arrival of bands like Aurthohin and Warfaze.

Current day rock and metal bands have progressed a long way from the initiators of the genre in Bangladesh. With latest technology and equipments at their disposal, many of the new rock musicians have achieved miracles at detracting attention from foreing bands. Some of the best known new bands are:

• Artcell
• Poizon Green
• Black
• Cryptic Fate
• Innocence
• Jaatishshor
• Vikings

New wave of Bangladeshi folk music

Fokir Alamgeer, Feroz Shahi, Momtaz, Kangalini Sufiya and Kuddus Boyati set notions of revitalising Bangladeshi folk music. Their immense popularity showed that despite Western influence, Bangladeshis still thoroughly enjoyed their own music.

While Bangla rock music was approaching the peak of its success, several musicians and music enthusiastts felt the need to revitalise traditional music. Inspired by the previous work done by those mentioned above, several new bands and singers emerged with the notion of creating true Bangladeshi pop music, inspired by traditional compositional structure.

Also worth mentioning is the project of non-resident Bangladeshi sound engineer, Habib, who has been actively working on modernizing Hason Raja?s songs as dance and party music.