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Song Singers Length "Ambikaye Talli Mariyamma" Pithapuram Nageswara Rao & P. Susheela: 03:26 "Veeduleni Guduleni Dasari" Ghantasala: 03:13 "Veeduleni Guduleni Chinnadi"
Music Composer Singer(s) Lang; Ābhēri (Carnatic) Bhimpalasi (Hindustani) Maname Ganamum [TH - A Raga's Journey 1] Savitri Papanasam Sivan: M. S. Subbulakshmi: Ābhēri / Bhimpalasi "Bina Madhur Madhur Kachhu Bol" Ram Rajya (1943 film) Shankar Rao Vyas Saraswati Rane: Hindi: Ābhēri / Bhimpalasi "Duniya Se Ji Ghabra Gaya" Laila Majnu(1953 ...
A Bhajan in Hindu traditions is an informal, loosely structured devotional song with music in a regional language. [19] They are found all over India and Nepal, but are particularly popular among the Vaishnav traditions such as those driven by devotion to avatars of Vishnu such as Krishna , Rama , Vitthal and Narayana (often with their consorts).
Saregama owns music repertoire across film music, non-film music, Carnatic, Hindustani classical, devotional music, etc. in over 25 Indian languages. The first song recorded in India by Gauhar Jaan in 1902 and the first film made in Bollywood ‘Alam Ara' in 1931 were under the music label. [citation needed] [6]
Traditionally, the music has been Indian classical music, which is based on ragas and tala (rhythmic beat patterns) played on the Veena (or Been), Sarangi Venu (flute), Mridanga(or Tabla) (traditional Indian instruments). The Sikh Scripture contains 31 ragas and 17 talas which form the basis for kirtan music compositions.
However, one critical review published in The Express Tribune called the movie's soundtrack "A surprising disappointment" and saying that "The film’s music sounds unoriginal and boring. In fact, people unfamiliar with Sajjad Ali and Ahmed Jehanzaib , might confuse it for Bollywood music."
Ghulam Mohammad composed the music of the film in the late 1950s, to lyrics by several poets, including Kaifi Azmi, Majrooh Sultanpuri and Kaif Bhopali. [ 6 ] The shooting of the film was halted in 1964 due to mutual differences between lead heroine Meena Kumari and her director-husband Amrohi.
It was popular among freedom fighters throughout India. It embodies the philosophy of the poet, Narsinh Mehta. According to the scholar Vasudha Narayanan, this poem is a traditional example of the concept of jiva-daya, a form of ahimsa that comprises experiencing the pain of others and associating it with bhakti, which is devotion to God. [3]