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The other remarkable feature is the individual developments
of Bhatiali, a type of folk music free from religious and sectarian
bias. This particular type of music influenced the various groups
of songs of the eastern and northern sectors of Bengal. The
original musical melody of the riverine districts of the then
East Bengal was spontaneous and melancholic in nature. Bhatiali
slowly captured the hearts of the people and spread all over
Bengal and even outside. Besides these, devotional songs of
various religious sects, songs of folk parties, work-songs and
narratives, ceremonial or seasonal community songs, dance and
tribal songs are prevalent. <
The Folk songs of Bengal may be classified as being:
- Emotional and Secular
- Religious or Sectarian like Baul, Vaishnava, and Sakta
- Occasional, ceremonial and occupational, like festival
songs (Parvageeti), marriage songs, etc.
The first type is solo and spontaneous in character. The second
type, solo or chorus, grew out of religious cults, while the
third one, a set of solo or chorus, is generally born of social
impact. The first two types of songs maintained distinct development
in tune and rhythm. The third type is a medley of tunes. Most
of the second and third types of songs are accompanied by percussion
instruments.
Musical Patterns in Bengal folk music
The musical structure of Bhatiali, Bhaoaia
and Baul are classed as the standard music of the popular type.
Songs have been collected and popularised, notations made available
and tunes have infiltrated in common music, film tunes and lyrical
songs of the poet-composers.
Bhatiali is a standard folk music of urban type popularised
greatly within half a century. Its subject matter with specific
themes, based on definite form of tune and mode of performance,
is familiar to a section of composers and artistes of the
urban areas. Bhatiali literally means a song of the boatman
going down the stream. It is a music of the wide field where
the singer just sings and where the presence of no listener
is presumed. He starts at once with an exclamation of endearing
poignancy, addressed to his love at a distance in the high
pitch-note and gradually descends over the seven notes until
the tune stops at a point. A simple and plain voice with full
throated ease can create wonder in this type of song. Bhatiali
is generally described as a sad tune. Originally it was not
supposed to be accompanied on musical instruments. The use
of Dotara, the string instrument now played with strokes or
strummings, making for a few combinations of notes for accompaniment
to Bhatiali, Bhaoaia and other types of songs, is a stage
in the evolution of this music.
North Bengal (Rajsahi and Cooch-Behar) music, namely, Bhaoaia,
is but a variety of Bhatiali tune. Bhaoaia is sometimes called
a song on Dotara. Both Bhatiali and Bhaoaia are free from
religious bias. These songs depict longings and pathos of
love and some other similar feature like the relationships
between a mother-in-law and sister-in-law and so on. Therefore,
softness and gracefulness are some of the important features
exposed in the tune.
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