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Gitagovinda is a dramatic poem, containing songs and dialogue of the three main characters, Radha, Krishna and Sakhi, Radha's female companion. These verses, inspired by the story of radha and krishna, are a beautiful combination of words and music.
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Jaydev was the court poet of King laksmanasena. One of the most remarkable contributions to music was jaydev's Gitagovinda, written in sanskrit, in the 12th century. It may be noted that the story of Maynamati and Gopichandra is also known as Gopichandra's Panchali. Possibly, nathgiti was sung in a mixture of song, dance and recitation, in the manner of panchali. It is also believed that nathgiti performances differed from those of charyagiti. However, nathgiti lack the discipline of the charyapada. The writers of nathgiti include Hadipa and kahnapa, who also wrote charyapada. The other strain narrates the legend of King Manikchandra and Queen Maynamati and of how their son, Gopichandra, became a saint. The songs of Goraksanath narrate the feats of Goraksanath and describe how Goraksanath rescued his master, Minanath. There were two main strains of nathgiti: Minchetan or goraksavijay, which focus on Goraksanath, and the songs variously known as King Manikchandra's songs, Maynamati's songs, or gopichandrer gan, which focus on Manikchandra. He nathgiti, songs written to describe the greatness of Nath gurus, followers of Goraksanath, are contemporary with the charyapadas. The object of these songs was to spread the ideas of the sahajiya Buddhist saints. Chhandovaddha and Rupakashrayi are written in what is referred to as sandhya bhasa.
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The charyapada (charyapada and charyagiti are synonymous, but the former term is used to refer to the poems as literature and the latter to refer to the lyrics as song) and Dohakos (the oldest manuscript discovered by Sastri) provide the names of many Bangali acharyas. The charyagitis are mainly devotional songs of Buddhist Sahajiyas and spread in Bengal during the reign of the Pala kings.
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Apart from being the earliest examples of Bangla song, the charyas are also interesting in the account they provide of how to make the vina and the tantri. Musical accompaniment was provided by the pataha or dhol and ektara. The charyagitis were sung in a number of r agas and raginis, such as patmanjari, mallari, gurjari, kamod, varadi, bhairavi, gavada, deshakh, ramakri, shavari, aru, indratal, devakri, dhanshri, malasi, malasi-gavada, and vangal raga. As the charyagitis are devoid of melapak, they are tridhatuk prose songs. Normally, this type of song is called 'prose song'. These features are known as dhatu (literally, element) so if one dhatu is omitted, the song is called tridhatuk git (song of three elements) and if two are omitted, it is called dvidhatuk (song of two elements).
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Udgraha and druva were compulsory, but melapak and abhog were not. However, while abhog (the fourth or concluding part or stanza of a song) is common to both charyagiti and Modern Bangla Song, udgraha (the first part of a song), melapak (the second part of a song) and druva (the third part of a song) were used instead of sthayi, antara, and sanchari, which are used today. Searching for Buddhist chronicles, haraprasad shastri discovered the manuscript of Charyacharyavinischay in 1907, making this the most ancient extant text of bangla language and song. The Charyascharyavinishchay, generally referred to as charyagiti, were composed by Buddhist monks or saints between the 7th to 12th centuries. In classical music the manner of rendition is important, whereas in desi songs both words and tunes are equally so. STEPHEN WINICK, Writer-Editor, Since ancient times, there have been two different genres of music in the Indian subcontinent: marga or classical music, based on ragas, and deshi or regional music. Collection of Bengali Folksong, Indian Folklife, by JENNIFER CUTTING, Folklife Specialist, and