Another form of folk music which influenced the general lyrical
songs of Bengal was Baul. It is a sectarian type of composition
arising out of a peculiar religious faith, which has its principal
expression in songs only. The Baul-lyrics attracted the poets
of Bengal because of their simplicity of expression, use of
common phrases and common imageries. The Baul sects maintain
God or the Lord to be the husband of beings with whom one
should unite and get supreme satisfaction of revelation, the
world and the life being unreal and deceptive. The conception
was mingled with Gurubad (master worship) at a later period.
This means that there should be a master of Guru who would
act as the medium between the Lord and devotee. The poetic
language used for this mystic faith sung in common rural tune
in swinging rhythmic patterns. Some of the songs which address
‘Guru’ have become popular for the mode of expression,
tune and metre. Baul-song is known to have extended its features
in songs like Dehatattva (significance of this bodily existence),
Marfarti, Murshidya Sariyati and Hakiyati - all a blending
of Islamic faith.
Bauls have two sections. The classification is made in respect
of their religious faith and the nature of songs:
- The Muslim Bauls-the music of the Faqir or the minstrel;
- Vaishnava Bauls which are again classified into:
- Navadwipi group (belonging to Chaitanya-Vaishnavism
as at Navadwip) and
- Radh group (belonging to the western part of the river
Bhagirathi).
The types of composition and method of musical performance
of these groups differ in nature and colour. The songs are
differently influenced by some Bhatiali group of tunes, popular
ragas like Behag-Khamaj group and Bhairavi and typical tunes
from keertan-music. The nature of presentation, the rhythmic
elements and the composition give them a distinctive identity.
Some of the tunes and the rhythmic patterns of Baul songs
were widely utilised by Rabindranath Tagore in his songs.
This attracted notice of other composers of Bengal. Bauls
find the most perfect bliss in a complete projection of their
thoughts and philosophy in tune and mode of performance in
dance style. Tunes, remarkable in their simplicity of devotional
expression, are inseparable from the dance movements of a
true Baul. Some sections of singers are peculiarity known
for their throwing of voice to the top-notes. The tunes utilised
in Baul conform to the patterns common with Bhatiali in the
first instance. Secondly, there are tunes in ragas Bhairavi
and Bilawal type which are also familiar. Bauls are seen to
use varied types of instruments like Khamak and Dotara.
The third group of the songs may be classified as folk music
based on mere recitation in tune. These are sometimes partial
exposition of some notes in monotonous rhythmic design. It
may be observed that Tala or rhythm makes the basic support
of the recital of these tunes. Somewhere drumming and metal
percussion accompaniment constitute the major show with vocal
recitals. Ceremonial music is sometimes covered by a few continuous
notes presented in a singsong manner. Lullaby of every country
gives the same impression of solo hum-music.
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