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Music of Bangladesh
Baul, the mystic minstrel of Bengal.
Genres
Classical Rock Hip hop
Specific forms
Religious music	Hamd Naat Ghazal Qawwali Jari gan Shreekrishna Kirtana Shyama Sangeet
Ethnic music	Agamani-Vijaya Baul Bhatiali Bhawaiya Dhamail Gombhira Kavigan Maimansingha Gitika Sari gan
Traditional music	Rabindra Sangeet Nazrul Geeti Lalon Hason Raja
Media and performance
Music awards	Shilpakala Academy Award
Music festivals	Dhaka World Music Festival
Music media	Radio Bangladesh Betar Radio Foorti Radio Today Radio Amar ABC Radio Radio Next Television Channel 9 Banglavision NTV Channel i Channel 16 Internet AmaderGaan.com
Nationalistic and patriotic songs
National anthem	Amar Sonar Bangla
Other	Notuner Gaan (National March) Ekusher Gaan (Ode to the Language Movement)
Regional music
Related areas	Bengal West Bengal
Other regions	India Pakistan
v t e

Nazrul Geeti (Bengali: নজরুল গীতি) or Nazrul Sangeet (Bengali: নজরুল সঙ্গীত), literally "music of Nazrul", refers to the songs written and composed by Kazi Nazrul Islam, the national poet of Bangladesh and active revolutionary during the Indian Independence Movement. Nazrul Sangeet/Geeti incorporate revolutionary notions as well as more spiritual, philosophical and romantic themes.^[1] Nazrul wrote and composed nearly 4,000 songs (including gramophone records),^[2] which are widely popular in Bangladesh and India.

Background

Nazrul showed the symptoms of keen poetic and musical talent at his tender age and started writing songs when he was a member of a Leto group (Folk Musical Group). Following Kazi Bazle Karim, his uncle and a leader of a Leto group, he became expert in composing songs and setting them to tunes. Joining Leto group enhanced his musical career and put a significant impact on shaping his future musical life. At very young age he was excelled in composing songs in different languages, apart from Bengali language. He met Satish Kanjilal, a teacher of Searsol School who had interest in classical music and some mastery over it. Observing Nazrul's irresistible inclination to music, Mr. Kanjilal imparted him some lessons on classical music. Later Nazrul widened his knowledge on music when he was serving as a Havilder in Karachi Barrack under Bengal Regiment. He learned a great deal of Persian language, literature and music with the help of a religious teacher from Punjab attached with the regiment.

Nazrul Islam's musical style

Revolutionary Mass music

The Mass music and poems of Kazi Nazrul Islam have been widely used during the Indian Independence Movement and Bangladesh Liberation War. The music is highly motivational and revolutionary in nature with strong and powerful words and captivating tunes. It talks about the extremities of everything. The lyrics of those songs are provoking, as they talk against conservatism and about life on a broader parameter of philosophy and spirituality. The beauty of Nazrul's mass music lies in the freedom of its expression, which also drew immense criticism. However, those who understood its philosophy praised the courage and straightforwardness.

Shyama Sangeet

Nazrul made valuable and rich contribution to Shyama Sangeet. He was thoroughly familiar with both Islamic and Hindu tradition and culture, and also he deeply cared about the harmony between Muslims and Hindus.

Kazi Nazrul Islam playing flute in 1926, Chittagong

Ghazal

Nazrul's acquaintance with the tradition of Persian Ghazals, a form of love songs, was very significant in the sense that it paved the base of his successful efforts in composing Bengali Ghazals which he undertook by 1927–28. Bengali Ghazal is, it can be mentioned outright, an innovation by Kazi Nazrul Islam alone. It served as the first mass-level introduction of Islam into the mainstream tradition of Bengali music.

Historical influence

Nazrul 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 several movies, especially those made during the pre-independence period of Bangladesh.

Nazrul Geeti has recently been translated and recorded in Oriya (an Indian language) in the form of a studio album.

Notable songs

• Dolan Chapa (name of a faintly fragrant monsoon flower), poems and songs, 1923


• Bisher Bashi (The Poison Flute), poems and songs, 1924


• Bhangar Gan (The Song of Destruction), songs and poems, 1924 proscribe in 1924


• Chhayanat (The Raga of Chhayanat), poems and songs, 1925


• Chittanama (On Chittaranjan), poems and songs, 1925


• Samyabadi (The Proclaimer of Equality), poems and songs, 1926


• Puber Hawa (The Eastern Wind), poems and songs, 1926


• Sarbahara (The Proletariat), poems and songs, 1926


• Sindhu Hindol (The Undulation of the Sea), poems and songs, 1927


• Jinjir (Chain), poems and songs, 1928


• Pralaya Shikha (Doomsday Flame), poems and songs, 1930 proscribed in 1930


• Shesh Saogat (The Last Offerings), poems and songs, 1958

Notable singers of Nazrul Geeti

• Firoza Begum


• Anup Ghoshal


• Manabendra Mukhopadhyay


• Manna Dey


• Sudhin Das


• Ferdausi Rahman


• Nilufar Yasmin


• 
  Ajoy Chakrabarty^{[3][better source needed]}
  


• Alaka Das


• Sadya Afreen Mallick


• Kamal Dasgupta


• Juthika Roy


• Kanan Devi


• S. D. Burman


• Chittaranjan Das


• Ferdous Ara


• Shaheen Samad


• 
  Manas Kumar Das^[4]
  


• Namrata Mohanty


• Nashid Kamal


• Asha Bhosle


• Mohd. Rafi


• Kumar Sanu


• 
  Tapas Kumar Das (তাপস কুমার দাশ)^[5]
  


• Shusmita Anis

References