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A group of Bollywood singers at the Indian Singers' Rights Association (ISRA) meet in 2013. Standing (L to R), Sitting (L to R), Mitali Singh. Bollywood songs, more formally known as Hindi film songs or songs, are songs featured in. Derived from the song-and-dance routine in Western film circles, Bollywood songs, along with dance, are a characteristic motif of Hindi cinema which gives it enduring popular appeal, cultural value and context. Hindi film songs form a predominant component of, and derive their inspiration from both classical and modern sources. Hindi film songs are now firmly embedded in North India's popular culture and routinely encountered in North India in marketplaces, shops, during bus and train journeys and numerous other situations.
Though Hindi films routinely contain many songs and some dance routines, they are not musicals in the Western theatrical sense; the music-song-dance aspect is an integral feature of the genre akin to plot, dialogue and other parameters.: 2 Linguistically, Bollywood songs tend to use a dialect of, or, mutually intelligible to both and speakers, while modern Bollywood songs also increasingly incorporate elements of. Has had a particularly strong impact on Bollywood songs, where the lyrics draw heavily from Urdu poetry and the tradition. In addition, is also occasionally used for Bollywood songs.
The is largely dominated by Bollywood soundtracks, which account for nearly 80% of the country's music revenue. The industry was dominated by in the 1980s and 1990s, before transitioning to in the 2000s (bypassing and ). As of 2014, the largest Indian music is (which has the world's ) with up to 35% share of the Indian market, followed by (the largest foreign-owned label) with up to 25% share, and then (which has a partnership with Sony). As of 2017, 216 million Indians use music streaming services such as,. Contents.
History Hindi film songs are present in Hindi cinema right from the first sound film (1931) by which featured seven songs. This was closely followed by Shirheen Farhad (1931) by, also by Madan, which had as many as 42 song sequences strung together in the manner of an opera, and later by Indra Sabha which had as many as 69 song sequences. However, the practice subsided and subsequent films usually featured between six and ten songs in each production.: 20 Right from the advent of Indian cinema in 1931, musicals with song numbers have been a regular feature in Indian cinema. In 1934 Hindi film songs began to be recorded on gramophones and later, played on radio channels, giving rise to a new form of mass entertainment in India which was responsive to popular demand. Within the first few years itself, Hindi cinema had produced a variety of films which easily categorised into genres such as 'historicals', 'mythologicals', 'devotional, 'fantasy' etc. But each having songs embedded in them such that it is incorrect to classify them as 'musicals'.
The Hindi song was such an integral features of Hindi mainstream cinema, besides other characteristics, that post-independence alternative cinema, of which the of are an example, discarded the song and dance motif in its effort to stand apart from mainstream cinema. The Hindi film song now began to make its presence felt as a predominating characteristic in the culture of the nation and began to assume roles beyond the limited purview of cinema. In multi-cultural India, as per film historian Partha Chatterjee, 'the Hindi film song cut through all the language barriers in India, to engage in lively communication with the nation where more than twenty languages are spoken. Scores of dialects exist'. Bollywood music has drawn its inspiration from numerous traditional sources such as, and, as well as from the West, Pakistan, and other Indic musical subcultures.
For over five decades, these songs formed the staple of popular music in South Asia and along with Hindi films, was an important cultural export to most countries around Asia and wherever the Indian diaspora had spread. The spread was galvanised by the advent of cheap plastic tape cassettes which were produced in the millions till the industry crashed in 2000. Even today Hindi film songs are available on radio, on television, as live music by performers, and on media, both old and new such as cassette tapes, compact disks and DVDs and are easily available, both legally and illegally, on the internet. Style and format The various use of languages in Bollywood songs can be complex. Most use variations of Hindi and Urdu, with some songs also including other languages such as, and it is not uncommon to hear the use of words in songs from modern Hindi movies. Besides Hindi, several other Indian languages have also been used including,. In a film, music, both in itself and accompanied with dance, has been used for many purposes including 'heightening a situation, accentuating a mood, commenting on theme and action, providing relief and serving as interior monologue.'
Production Songs in Bollywood movies are deliberately crafted with lyrics often written by distinguished poets or literati (often different from those who write the film script), and these lyrics are often then set to music, carefully choreographed to match the dance routine or script of the film. They are then sung by professional playback singers and lip-synched by the actors. Bollywood cinema is unique in that the majority of songs are seen to be sung by the characters themselves rather than being played in the background.
In Western cinema, often a composer who specializes in film music is responsible for the bulk of music on the film's, and while in some films songs may play an important part (and have direct relationship to the subject of the film), in Bollywood films, the songs often drive large-scale production numbers featuring elaborate choreography. The key figure in Bollywood music production and composition is the music director. While in Western films, a ' or 'music coordinator' is usually responsible for selecting existing recorded music to add to the soundtrack, typically during opening and closing credits, in Bollywood films, the 'music director' often has a much broader role encompassing both composing music/songs specifically for the film and (if needed) securing additional (licensed) music. In this sense, a Bollywood music director also plays the role of a. The lyricist of Bollywood songs is less likely to be the same composer or music director, as Bollywood films often go to great lengths to include lyrics of special significance and applicability to the film's plot and dialogue, and/or the words of highly regarded poets/lyricists set to music written specifically for such words in the film, as noted above.
Bollywood film songs have been described as eclectic both in instrumentation and style. They often employ foreign instruments and rework existing songs, showing remarkable inventiveness in the reinvention of melodies and instrumental techniques. Bollywood film songs often tend to be accompanied by expensive. Some are among the of all time. The most expensive Indian music video is 'Party All Night' (for the 2013 film ), which cost ₹60 million ( $1.02 million) to produce. Adjusted for inflation, the most expensive Indian music video was ' (for the 1960 film ), which at the time cost more than ₹1.5 million ( $320,000), equivalent to $3 million ( ₹200 million) adjusted for inflation. Main article: Hindi dance music encompasses a wide range of songs predominantly featured in the film industry with a growing worldwide attraction.
The music became popular among in countries such as, the and the and eventually developed a global fan base. Disco In the of, peaked in popularity in the early 1980s, when a South Asian disco scene arose, popularized by Bollywood music, at a time when disco's popularity had declined in North America. The South Asian disco scene was sparked by the success of singer, working with producer, with the hit song ' in 1980. Biddu himself previously had success in the, where he was considered a pioneer, as one of the first successful disco producers in the early 1970s, with hits such as the hugely popular ' (1974), before the genre's Western decline at the end of the 1970s led to him shifting his focus to. The success of 'Aap Jaisa Koi' in 1980 was followed by Nazia Hassan's, a 1981 album produced by Biddu, becoming Asia's best-selling pop album at the time. In parallel to the scene at the time, the continued relevance of disco in South Asia and the increasing reliance on led to experiments in, often combined with elements of.
Biddu had already used electronic equipment such as synthesizers in some of his earlier disco work, including 'Bionic Boogie' from Rain Forest (1976), 'Soul Coaxing' (1977), Eastern Man and Futuristic Journey (recorded from 1976 to 1977), and 'Phantasm' (1979), before using synthesizers for his later work with Nazia Hassan, including 'Aap Jaisa Koi' (1980), Disco Deewane (1981) and ' (1982). Bollywood disco producers who used electronic equipment such as synthesizers include, on songs such as 'Dhanno Ki Aankhon Mein' (, 1977) and 'Pyaar Karne Waale' (, 1980);, on songs such as 'Om Shanti Om' (, 1980); and, on songs such as 'Ramba Ho' (, 1981). They also experimented with, electronic disco, including Burman's ' (, 1981), which had a 'futuristic feel', and Lahiri's ' (, 1982). Such experiments eventually culminated in the work of, whose 1982 record anticipated the sound of, years before the genre arose in the scene of the late 1980s.
Using the, and synthesizer, Singh increased the disco up to a ' wavelength' and made the sounds more minimalistic, while pairing them with 'mystical, repetitive, instrumental Indian ', to produce a new sound, which resembled acid house. According to Singh: 'There was lots of disco music in films back in 1982. So I thought why not do something different using disco music only. I got an idea to play all the Indian ragas and give the beat a disco beat – and turn off the. And I did it. And it turned out good.' The first track ' also had a that says ' through a.
Along with experiments in electronic disco, another experimental trend in Indian disco music of the early 1980s was the fusion of disco. Due to 1960s, popularized by ', borrowing heavily from Indian music, it began exerting a reverse influence and had blended with by the early 1970s.
You can download these songs for free from various sources as well. This led to Bollywood producers exploring a middle-ground between disco and psychedelia in the early 1980s.
Producers who experimented with disco-psychedelic fusion included, on songs such as 'Om Shanti Om' (, 1980), and, on songs such as 'Pyaar Karne Waale' (, 1980), along with the use of synthesizers. Further information: It represents a distinct subgenre of, although it is distinct from traditional, which is devotional. One example of filmi qawwali is the song ' sung by, and composed by, for the Indian film (1977). Within the subgenre of filmi qawwali, there exists a form of qawwali that is infused with modern and instruments, usually with beats, called techno-qawwali. An example of techno-qawwali is ', a filmi song composed. A newer variation of the techno-qawwali based on the more dance oriented tracks is known as the 'club qawwali'.
More tracks of this nature are being recorded and released. And have composed filmi qawwalis in the style of traditional qawwali. Examples include 'Tere Bin Nahin Jeena' ( ), 'Arziyan' ( ), 'Khwaja Mere Khwaja' ( ) and 'Kun Faya Kun' ( ). Further information: and Indian musicians began fusing rock with traditional Indian music from the mid-1960s onwards in songs produced for popular Bollywood films. Some of the more well known early rock songs (including styles such as, and ) from Bollywood films include 's ' in (1965), 's 'O Saathi Re' in (1978), and songs such as ' in (1971), 'Ae Naujawan Hai Sab' in (1972), and 'Yeh Mera Dil Pyar Ka Diwana' in (1978).
Plagiarism The Pakistani musician had a big impact on Bollywood music, inspiring numerous Indian musicians working in, especially during the 1990s. However, there were many instances of Indian music directors plagiarising Khan's music to produce hit songs. For example, Vedpal's 'Yeh Jo Halka Halka Suroor Hai' in (1989) and 's 'Mera Piya Ghar Aaya' in (1995) are based on Khan's songs. 's hit song 'Tu Cheez Badi Hai Mast Mast' in (1994) was plagiarised from Khan's popular Qawwali song '. Several songs are based on Khan's songs, including 'Kisika Yaar Na Bichde' in (1993), 'Kitna Pyara Tujhe Rab Ne Banaya' in (1996), 'Mujhe Ek Pal Chain Na Awe' in (1997), and 'Bheed Me Tanhai Me' in (2004). Other Bollywood songs based on Khan's music include 's 'Zamaana Deewana Ho Gaya' in (1995) and 's 'Wada Karke Sajan Nahi Aaya' in Barsaat Ki Raat (1998), among others.
Numerous Bollywood songs were also copied from other. The earliest example was 'Moam Ki Gurrya' in Baaghon Main Bahaar Aayi (1972) being copied from Bakhshi Wazir's 'Jadon Holi Jayi' in Utt Khuda Da Wair (1970). Numerous hit Bollywood songs were copied from Pakistani composer, such as (1990) copying 'Main Jis Din Bhula Doon' in Khushboo (1979), Kal Ki Awaz (1992) copying 'Kisi Meherban Ne Aa Ke' in Shama (1974), and Laxmikant–Pyarelal's ' in (1993) copying 'Raat De Bara Baje' in Pakistani films Do Badan (1974) and Zabardast (1989). Copied the song 'Yaariyan' in (1996) from a 1993 song by Pakistani band with singer. Copied the song 'Aahun Aahun' in (2009) from 's 'Kadi Te Has' (1984), 'Janambhoomi Pe' in (2004) from 's 'Bheega Bheega Sa' (1998), and 'Akhiya Na' in (2005) from 's 'Challa' (2004). Copied 'Tuu Meri Zindagi Hain' in (1990) from a 1976 song by Pakistani singer, 'Tumhein Apna Banaane Ki' in (1991) from song 'Chale To' (1983) by singer, and 'O Rabba' in (1995) from 's 'Chahe Duniya' in 's Naukar (1975). Among numerous other examples.
A number of Bollywood soundtracks also plagiarized singer, particularly his 1987 album Akwaba Beach. For example, his song 'Tama' inspired two Bollywood songs, 's 'Tamma Tamma' in (1990) and 'Jumma Chumma' in Laxmikant-Pyarelal's soundtrack for (1991), the latter also featuring another song 'Ek Doosre Se' which copied his song 'Inch Allah'. His song ' was also used as background music in the 1990 Bollywood film, inspired the Bollywood song 'Tamma Tamma' in Thanedaar, and was also copied by 's song 'Pellikala Vachesindhe' in the 1997.
Cultural impact Indian cinema, with its characteristic film music, has not only spread all over Indian society, but also been on the forefront of the spread of India's culture around the world.: 14 In Britain, Hindi film songs are heard in restaurants and on radio channels dedicated to Asian music. The British dramatist converted a Hindi film hit into a hit musical 'Fourteen Songs' which was well received by the British audience. Film-maker acknowledged the influence of Hindi cinema on his production by the inclusion of a number 'Hindi Sad Diamonds' based on the filmi song 'Chamma Chamma' which was composed. In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia singers like Ellya Khadam, and, have reworked Hindi songs for Indonesian audiences. In France, the band used Bollywood influences in their music video for ' and French singer popularised filmi music by covering songs such as '. In Nigeria bandiri music—a combination of lyrics and Bollywood-style music—has become popular among youth. Hindi film music has also been combined with local styles in the to form '.