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Filmi-ghazal: Difference between revisions
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The [[ghazal]] tradition of [[Urdu poetry]] was the basis for early [[Bollywood music]], ever since the first Indian [[talkie]] film, ''[[Alam Ara]]'' (1931). In turn, [[filmi]] ghazals had roots in earlier Urdu [[Parsi theatre]] during the 19th to early 20th centuries. The ghazal was the dominant style of [[Indian film]] music since the 1930s up until the 1960s. By the 1980s, however, ghazals had become marginalized in film music. Reasons for the decline include Urdu ghazal poetry being gradually phased out from the [[Indian education]] system, lyricists targeting urban middle-class audiences, and the influence of Western and [[Latin American music]].<ref name="Kabir">{{cite book |last1=Kabir |first1=Nasreen Munni |last2=Akhtar |first2=Javed |author2-link=Javed Akhtar |title=Talking Films and Songs: Javed Akhtar in conversation with Nasreen Munni Kabir |date=2018 |publisher=[[Oxford University Press]] |isbn=978-0-19-909177-5 |url=https://books.google.com/books?id=S59MDwAAQBAJ&pg=PT114}}</ref> | The [[ghazal]] tradition of [[Urdu poetry]] was the basis for early [[Bollywood music]], ever since the first Indian [[talkie]] film, ''[[Alam Ara]]'' (1931). In turn, [[filmi]] ghazals had roots in earlier Urdu [[Parsi theatre]] during the 19th to early 20th centuries. The ghazal was the dominant style of [[Indian film]] music since the 1930s up until the 1960s. By the 1980s, however, ghazals had become marginalized in film music. Reasons for the decline include Urdu ghazal poetry being gradually phased out from the [[Indian education]] system, lyricists targeting urban middle-class audiences, and the influence of Western and [[Latin American music]].<ref name="Kabir">{{cite book |last1=Kabir |first1=Nasreen Munni |last2=Akhtar |first2=Javed |author2-link=Javed Akhtar |title=Talking Films and Songs: Javed Akhtar in conversation with Nasreen Munni Kabir |date=2018 |publisher=[[Oxford University Press]] |isbn=978-0-19-909177-5 |url=https://books.google.com/books?id=S59MDwAAQBAJ&pg=PT114}}</ref> | ||
Music directors like [[Madan Mohan (music director)| Madan Mohan]] composed notable filmi-ghazals extensively for [[Muslim social]]s in the 1960s and the 1970s.<ref name="Anantharaman2008">{{cite book|last=Anantharaman|first=Ganesh|title=Bollywood Melodies: A History of the Hindi Film Song|url=https://books.google.com/books?id=lmrSLuBwbKkC&pg=PA9|date=January 2008|publisher=Penguin Books India|isbn=978-0-14-306340-7|pages=9}}</ref> | Music directors like [[Madan Mohan (music director)|Madan Mohan]] composed notable filmi-ghazals extensively for [[Muslim social]]s in the 1960s and the 1970s.<ref name="Anantharaman2008">{{cite book|last=Anantharaman|first=Ganesh|title=Bollywood Melodies: A History of the Hindi Film Song|url=https://books.google.com/books?id=lmrSLuBwbKkC&pg=PA9|date=January 2008|publisher=Penguin Books India|isbn=978-0-14-306340-7|pages=9}}</ref> | ||
The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of [[Nadeem–Shravan]]'s ''[[Aashiqui]]'' (1990). It had a big impact on Bollywood music, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as ''[[Dil (1990 film)|Dil]]'' (1990), ''[[Saajan]]'' (1991), ''[[Phool Aur Kaante]]'' (1991) and ''[[Deewana (1992 film)|Deewana]]'' (1992).<ref name="ghazal">{{cite journal |title=India Today |journal=[[India Today]] |date=1994 |page=342 |url=https://books.google.com/books?id=TmkpAQAAIAAJ |publisher=[[Living Media]] |quote=In 1990, the super-success of Nadeem-Shravan's ''Aashiqui'' ushered in the era of ghazal-type romantic music as in ''Saajan'', ''Dil'', ''Phool aur Kaante'', ''Deewana''.}}</ref> However, the filmi ghazal style was once again marginalized by the early 21st century, as filmi songs became faster-paced along with greater Western and Latin influences. However, there have been a number of well-received filmi ghazal songs composed into the 2010s.<ref name="Kabir"/> A popular ghazal song from ''Aashiqui'' was "[[Dheere Dheere]]", a [[cover version]] of which was later recorded by [[Yo Yo Honey Singh]] and released by [[T-Series (company)|T-Series]] in 2015. | The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of [[Nadeem–Shravan]]'s ''[[Aashiqui]]'' (1990). It had a big impact on Bollywood music, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as ''[[Dil (1990 film)|Dil]]'' (1990), ''[[Saajan]]'' (1991), ''[[Phool Aur Kaante]]'' (1991) and ''[[Deewana (1992 film)|Deewana]]'' (1992).<ref name="ghazal">{{cite journal |title=India Today |journal=[[India Today]] |date=1994 |page=342 |url=https://books.google.com/books?id=TmkpAQAAIAAJ |publisher=[[Living Media]] |quote=In 1990, the super-success of Nadeem-Shravan's ''Aashiqui'' ushered in the era of ghazal-type romantic music as in ''Saajan'', ''Dil'', ''Phool aur Kaante'', ''Deewana''.}}</ref> However, the filmi ghazal style was once again marginalized by the early 21st century, as filmi songs became faster-paced along with greater Western and Latin influences. However, there have been a number of well-received filmi ghazal songs composed into the 2010s.<ref name="Kabir"/> A popular ghazal song from ''Aashiqui'' was "[[Dheere Dheere]]", a [[cover version]] of which was later recorded by [[Yo Yo Honey Singh]] and released by [[T-Series (company)|T-Series]] in 2015. | ||
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