HSCHSC Seen

HSC Unit : 13 Lesson: 2 ; Art and Music, Folk Music

Folk music

Folk music consists of songs and music of a community that are uninfluenced by any sophisticated musical rules or any standard music styles. Bangladesh has a heritage of rich folk music which includes both religious and secular songs.

āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤

āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻšāĻ˛ā§‹ āĻāĻ•āĻŸāĻŋ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžā§Ÿā§‡āĻ° āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻ“ āĻ¸ā§āĻ° āĻ¯ā§‡āĻŸāĻž āĻ…āĻ­āĻŋāĻœāĻžāĻ¤ āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻ°ā§€āĻ¤āĻŋ āĻŦāĻž āĻ•ā§‹āĻ¨ā§‹ āĻ†āĻĻāĻ°ā§āĻļ āĻ¸āĻ‚āĻ—ā§€āĻ¤āĻļā§ˆāĻ˛ā§€āĻ° āĻĒā§āĻ°āĻ­āĻžāĻŦāĻŽā§āĻ•ā§āĻ¤āĨ¤ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻāĻ•āĻŸāĻŋ āĻ¸āĻŽā§ƒāĻĻā§āĻ§ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻāĻ° āĻāĻ¤āĻŋāĻšā§āĻ¯ āĻ°ā§Ÿā§‡āĻ›ā§‡ āĻ¯āĻžāĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻ§āĻ°ā§āĻŽā§€ā§Ÿ āĻ“ āĻ…āĻ¸āĻžāĻŽā§āĻĒā§āĻ°āĻĻāĻžā§ŸāĻŋāĻ• āĻ—āĻžāĻ¨ āĻ‰āĻ­ā§ŸāĻ‡ āĻ…āĻ¨ā§āĻ¤āĻ°ā§āĻ­ā§āĻ•ā§āĻ¤āĨ¤

Folk music may be described as that type of ancient music which springs from the heart of a community, based on their natural style of classical music and modern popular songs. Any mode or form created by the combination of tune, voice and dance may be described as music.

āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤āĻ•ā§‡ āĻĒā§āĻ°āĻžāĻšā§€āĻ¨ āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻ¸ā§‡āĻ‡ āĻ§āĻ°āĻŖ āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻŦāĻ°ā§āĻŖāĻ¨āĻž āĻ•āĻ°āĻž āĻ¯āĻžā§Ÿ āĻ¯āĻž āĻāĻ•āĻŸāĻŋ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžā§Ÿā§‡āĻ° āĻšā§ƒāĻĻā§Ÿ āĻšāĻ¤ā§‡ āĻ‰ā§ŽāĻ¸āĻžāĻ°āĻŋāĻ¤ āĻ…āĻ­āĻŋāĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋ āĻĒā§āĻ°āĻ•āĻžāĻļā§‡ āĻ¤āĻžāĻĻā§‡āĻ° āĻ¸āĻšāĻœāĻžāĻ¤ āĻļā§ˆāĻ˛ā§€ āĻ­āĻŋāĻ¤ā§āĻ¤āĻŋāĻ• āĻ¯āĻž āĻ‰āĻšā§āĻšāĻžāĻ™ā§āĻ— āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻ“ āĻ†āĻ§ā§āĻ¨āĻŋāĻ• āĻœāĻ¨āĻĒā§āĻ°āĻŋā§Ÿ āĻ—āĻžāĻ¨ā§‡āĻ° āĻ°ā§€āĻ¤āĻŋāĻ° āĻĒā§āĻ°āĻ­āĻžāĻŦāĻŽā§āĻ•ā§āĻ¤āĨ¤ āĻ¸ā§āĻ°, āĻ•āĻ¨ā§āĻ  āĻ“ āĻ¨āĻžāĻšā§‡āĻ° āĻ¸āĻŽāĻ¨ā§āĻŦā§Ÿā§‡ āĻ¸ā§ƒāĻˇā§āĻŸ āĻ¯ā§‡āĻ•ā§‹āĻ¨ā§‹ āĻ§āĻ°āĻ¨ āĻŦāĻž āĻ°ā§‚āĻĒāĻ•ā§‡ āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻŦāĻ°ā§āĻŖāĻ¨āĻž āĻ•āĻ°āĻž āĻ¯āĻžā§ŸāĨ¤

Thus, the combination of folk song, folk dance and folk tune may be called folk music. For example, Baul songs are a combination of tune, music and dance.

āĻ¸ā§‡āĻ‡ āĻšāĻŋāĻ¸ā§‡āĻŦā§‡, āĻ˛ā§‹āĻ•āĻ—ā§€āĻ¤āĻŋ āĻ˛ā§‹āĻ•āĻ¨ā§ƒāĻ¤ā§āĻ¯ āĻ“ āĻ˛ā§‹āĻ• āĻ¸ā§āĻ° āĻāĻ° āĻ¸āĻŽāĻ¨ā§āĻŦā§ŸāĻ•ā§‡ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻŦāĻ˛āĻž āĻ¯ā§‡āĻ¤ā§‡ āĻĒāĻžāĻ°ā§‡āĨ¤ āĻ‰āĻĻāĻžāĻšāĻ°āĻŖāĻ¸ā§āĻŦāĻ°ā§‚āĻĒ, āĻŦāĻžāĻ‰āĻ˛ āĻ—āĻžāĻ¨ āĻšāĻ˛ā§‹ āĻ¸ā§āĻ°, āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻ“ āĻ¨āĻžāĻšā§‡āĻ° āĻāĻ•āĻŸāĻŋ āĻ¸āĻŽāĻ¨ā§āĻŦā§ŸāĨ¤

Folk music has the following characteristics: (i) It is composed by rural folk in the basis of ancient rules transmitted orally; (ii) These ancient rules of music have not been influenced by classical or modern music; (iii) Folk songs may be sung in groups or individually; (iv) No regular practice is required for folk music; (v) It is composed and performed by illiterate or semi-literate people; (vi) It is a spontaneous expression in easy language, local dialect, and simple tune;

āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻ¨āĻŋāĻŽā§āĻ¨ā§‹āĻ•ā§āĻ¤ āĻŦā§ˆāĻļāĻŋāĻˇā§āĻŸā§āĻ¯āĻ—ā§āĻ˛ā§‹ āĻ°ā§Ÿā§‡āĻ›ā§‡: (i) āĻāĻŸāĻŋ āĻĒā§āĻ°āĻžāĻšā§€āĻ¨ āĻ°ā§€āĻ¤āĻŋāĻ° āĻ­āĻŋāĻ¤ā§āĻ¤āĻŋāĻ¤ā§‡ āĻ—ā§āĻ°āĻžāĻŽā§€āĻ¨ āĻŽāĻžāĻ¨ā§āĻˇ āĻĻā§āĻŦāĻžāĻ°āĻž āĻ°āĻšāĻŋāĻ¤ āĻ¯ā§‡āĻ—ā§āĻ˛ā§‹ āĻŽā§āĻ–ā§‡ āĻŽā§āĻ–ā§‡ āĻĒā§āĻ°āĻšāĻ˛āĻŋāĻ¤ āĻšā§Ÿā§‡ āĻāĻ¸ā§‡āĻ›ā§‡; (ii) āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻāĻ¸āĻŦ āĻĒā§āĻ°āĻžāĻšā§€āĻ¨ āĻ°ā§€āĻ¤āĻŋāĻ—ā§āĻ˛ā§‹ āĻ‰āĻšā§āĻšāĻžāĻ™ā§āĻ— āĻŦāĻž āĻ†āĻ§ā§āĻ¨āĻŋāĻ• āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻĻā§āĻŦāĻžāĻ°āĻž āĻĒā§āĻ°āĻ­āĻžāĻŦāĻŋāĻ¤ āĻšā§ŸāĻ¨āĻŋ; (iii) āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤āĻ¸āĻŽā§‚āĻš āĻĻāĻ˛ā§€ā§ŸāĻ­āĻžāĻŦā§‡ āĻŦāĻž āĻāĻ•āĻ•āĻ­āĻžāĻŦā§‡ āĻ—āĻžāĻ“ā§ŸāĻž āĻ¯ā§‡āĻ¤ā§‡ āĻĒāĻžāĻ°ā§‡; (iv) āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻœāĻ¨ā§āĻ¯ āĻ¨āĻŋā§ŸāĻŽāĻŋāĻ¤ āĻšāĻ°ā§āĻšāĻžāĻ° āĻĒā§āĻ°ā§Ÿā§‹āĻœāĻ¨ āĻ¨ā§‡āĻ‡; (v) āĻāĻŸāĻŋ āĻ…āĻļāĻŋāĻ•ā§āĻˇāĻŋāĻ¤ āĻŦāĻž āĻ…āĻ°ā§āĻ§āĻļāĻŋāĻ•ā§āĻˇāĻŋāĻ¤ āĻ˛ā§‹āĻ•āĻœāĻ¨ āĻ°āĻšāĻ¨āĻž āĻ•āĻ°ā§‡ āĻ“ āĻ—āĻžā§Ÿ; (vi) āĻāĻŸāĻŋ āĻ¸āĻšāĻœ āĻ­āĻžāĻˇāĻžā§Ÿ, āĻ†āĻžā§āĻšāĻ˛āĻŋāĻ• āĻļāĻŦā§āĻĻā§‡, āĻāĻŦāĻ‚ āĻ¸āĻšāĻœ āĻ¸ā§āĻ°ā§‡ āĻāĻ•āĻŸāĻŋ āĻ¸āĻžāĻŦāĻ˛ā§€āĻ˛ āĻĒā§āĻ°āĻ•āĻžāĻļ;

(vii) Both words and tune are appealing; (viii) Despite its universal appeal it uses local dialect; (ix) It depends upon nature and the rural environment; (x) It is an explicit manifestation of the joys and sorrows of daily life; (xi) It uses simple and natural rhythms; (xii) It contains a strong emotive expression of human love and separation.

(vii) āĻļāĻŦā§āĻĻ āĻāĻŦāĻ‚ āĻ¸ā§āĻ° āĻ‰āĻ­ā§ŸāĻ‡ āĻŽāĻ°ā§āĻŽāĻ¸ā§āĻĒāĻļā§€; (viii) āĻāĻŸāĻŋāĻ° āĻ¸āĻžāĻ°ā§āĻŦāĻœāĻ¨ā§€āĻ¨ āĻ†āĻŦā§‡āĻĻāĻ¨ āĻ¸āĻ¤ā§āĻ¤ā§āĻŦā§‡āĻ“ āĻāĻŸāĻŋ āĻ†āĻžā§āĻšāĻ˛āĻŋāĻ• āĻļāĻŦā§āĻĻ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ•āĻ°ā§‡; (ix) āĻāĻŸāĻŋ āĻĒā§āĻ°āĻ•ā§ƒāĻ¤āĻŋ āĻ“ āĻ—ā§āĻ°āĻžāĻŽā§āĻ¯ āĻĒāĻ°āĻŋāĻŦā§‡āĻļā§‡āĻ° āĻ“āĻĒāĻ° āĻ¨āĻŋāĻ°ā§āĻ­āĻ° āĻ•āĻ°ā§‡; (x) āĻāĻŸāĻŋ āĻĻā§ˆāĻ¨āĻ¨ā§āĻĻāĻŋāĻ¨ āĻœā§€āĻŦāĻ¨ā§‡āĻ° āĻ¸ā§āĻ– āĻ“ āĻĻā§āĻƒāĻ–ā§‡āĻ° āĻŦāĻšāĻŋāĻƒāĻĒā§āĻ°āĻ•āĻžāĻļ; (xi) āĻāĻŸāĻž āĻ¸āĻšāĻœ āĻ“ āĻ¸āĻšāĻœāĻžāĻ¤ āĻ›āĻ¨ā§āĻĻ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ•āĻ°ā§‡; (xii) āĻāĻŸāĻŋ āĻŽāĻžāĻ¨ā§āĻˇā§‡āĻ° āĻ­āĻžāĻ˛ā§‹āĻŦāĻžāĻ¸āĻž āĻ“ āĻŦāĻŋāĻšā§āĻ›ā§‡āĻĻā§‡āĻ° āĻāĻ•āĻŸāĻŋ āĻļāĻ•ā§āĻ¤āĻŋāĻļāĻžāĻ˛ā§€ āĻ†āĻŦā§‡āĻ—āĻĒā§āĻ°āĻŦāĻŖ āĻ…āĻ­āĻŋāĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋ āĻ§āĻžāĻ°āĻŖ āĻ•āĻ°ā§‡āĨ¤

In Bangladesh, folk music has great variety, with songs being composed on the culture, festivals, views of life, natural beauty, rivers and rural and riverine life. These songs are also about social inequality and poverty, about the material world and the supernatural. Mystical songs have been composed using the metaphors of rivers and boats. Since the country is basically riverine, the Bhatiyali forms an important genre of folk music.

āĻ¸āĻ‚āĻ¸ā§āĻ•ā§ƒāĻ¤āĻŋ, āĻ‰ā§ŽāĻ¸āĻŦ, āĻœā§€āĻŦāĻ¨āĻĻāĻ°ā§āĻļāĻ¨ āĻĒā§āĻ°āĻžāĻ•ā§ƒāĻ¤āĻŋāĻ• āĻ¸ā§ŒāĻ¨ā§āĻĻāĻ°ā§āĻ¯, āĻ¨āĻĻā§€ āĻāĻŦāĻ‚ āĻ—ā§āĻ°āĻžāĻŽā§€āĻŖ āĻ“ āĻ¨āĻĻā§€āĻŽāĻžāĻ¤ā§ƒāĻ• āĻœā§€āĻŦāĻ¨ āĻ­āĻŋāĻ¤ā§āĻ¤āĻŋāĻ• āĻ—āĻžāĻ¨ āĻ¨āĻŋā§Ÿā§‡ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻŦāĻŋāĻļāĻžāĻ˛ āĻŦā§ˆāĻšāĻŋāĻ¤ā§āĻ°ā§āĻ¯ āĻ°ā§Ÿā§‡āĻ›ā§‡āĨ¤ āĻāĻ¸āĻŦ āĻ—āĻžāĻ¨ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻ…āĻ¸āĻŽāĻ¤āĻž āĻ“ āĻĻāĻžāĻ°āĻŋāĻĻā§āĻ°ā§āĻ¯, āĻĒāĻžāĻ°ā§āĻĨāĻŋāĻ• āĻœāĻ—ā§Ž āĻāĻŦāĻ‚ āĻ…āĻ¤āĻŋāĻĒā§āĻ°āĻžāĻ•ā§ƒāĻ¤ āĻŦāĻŋāĻˇā§Ÿ āĻ¨āĻŋā§Ÿā§‡āĻ“ āĻ°āĻšāĻŋāĻ¤ āĻšā§Ÿā§‡āĻ›ā§‡āĨ¤ āĻ†āĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ• āĻ—āĻžāĻ¨āĻ—ā§āĻ˛ā§‹ āĻ¨āĻĻā§€ āĻ“ āĻ¨ā§ŒāĻ•āĻžāĻ° āĻ‰āĻĒāĻŽāĻž āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ•āĻ°ā§‡ āĻ°āĻšāĻŋāĻ¤āĨ¤ āĻ¯ā§‡āĻšā§‡āĻ¤ā§ āĻĻā§‡āĻļāĻŸāĻŋ āĻ¨āĻĻā§€āĻŽāĻžāĻ¤ā§ƒāĻ• āĻ¤āĻžāĻ‡ āĻ­āĻžāĻŸāĻŋā§ŸāĻžāĻ˛ā§€ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻāĻ•āĻŸāĻŋ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻļā§ˆāĻ˛ā§€āĨ¤

Folk music is formed and develops according to the environment. Differences in the natural environment are reflected in the people of the different regions. The dialects too vary across the different regions. Bangladeshi folk music, therefore, varies from region to region. Thus there are the northern Bhawaiya, the eastern Bhatiyali and the south western Baul Songs.

āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻĒāĻ°āĻŋāĻŦā§‡āĻļ āĻ…āĻ¨ā§āĻ¸āĻžāĻ°ā§‡ āĻ¤ā§ˆāĻ°āĻŋ āĻšā§Ÿ āĻāĻŦāĻ‚ āĻŦā§‡ā§œā§‡ āĻ“āĻ ā§‡āĨ¤ āĻĒā§āĻ°āĻžāĻ•ā§ƒāĻ¤āĻŋāĻ• āĻĒāĻ°āĻŋāĻŦā§‡āĻļā§‡āĻ° āĻ­āĻŋāĻ¨ā§āĻ¨āĻ¤āĻž āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻ…āĻžā§āĻšāĻ˛ā§‡āĻ° āĻŽāĻžāĻ¨ā§āĻˇā§‡āĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻĒāĻ°āĻŋāĻ˛āĻ•ā§āĻˇāĻŋāĻ¤ āĻšā§ŸāĨ¤ āĻ†āĻžā§āĻšāĻ˛āĻŋāĻ• āĻ­āĻžāĻˇāĻžāĻ“ āĻ­āĻŋāĻ¨ā§āĻ¨ āĻ­āĻŋāĻ¨ā§āĻ¨ āĻāĻ˛āĻžāĻ•āĻžā§Ÿ āĻ­āĻŋāĻ¨ā§āĻ¨ āĻ­āĻŋāĻ¨ā§āĻ¨ āĻšā§ŸāĨ¤ āĻ¤āĻžāĻ‡ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤āĻ“ āĻāĻ• āĻ…āĻžā§āĻšāĻ˛ āĻĨā§‡āĻ•ā§‡ āĻ…āĻ¨ā§āĻ¯ āĻ…āĻžā§āĻšāĻ˛ā§‡ āĻ­āĻŋāĻ¨ā§āĻ¨ āĻšā§ŸāĨ¤ āĻāĻ­āĻžāĻŦā§‡āĻ‡ āĻ—ā§œā§‡ āĻ‰āĻ ā§‡āĻ›ā§‡ āĻ‰āĻ¤ā§āĻ¤āĻ°ā§‡ āĻ­āĻžāĻ“ā§ŸāĻžāĻ‡ā§ŸāĻž, āĻĒā§‚āĻ°ā§āĻŦā§‡āĻ° āĻ­āĻžāĻŸāĻŋā§ŸāĻžāĻ˛ā§€ āĻāĻŦāĻ‚ āĻĻāĻ•ā§āĻˇāĻŋāĻŖ-āĻĒāĻļā§āĻšāĻŋāĻŽā§‡āĻ° āĻŦāĻžāĻ‰āĻ˛ āĻ—āĻžāĻ¨āĨ¤

The culture and the lifestyle of the different tribes have also influenced folk music. Tribes like the Santal, Garo, Hajong, Chakma, Monipuri, Tripuri, Marma etc. have interacted with ethnic Bengali culture and lifestyle over the years. The interaction has been clearly reflected in the richness of folk music.

āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻ‰āĻĒāĻœāĻžāĻ¤āĻŋāĻĻā§‡āĻ° āĻ¸āĻ‚āĻ¸ā§āĻ•ā§ƒāĻ¤āĻŋ āĻ“ āĻœā§€āĻŦāĻ¨āĻ§āĻžāĻ°āĻžāĻ“ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤āĻ•ā§‡ āĻĒā§āĻ°āĻ­āĻžāĻŦāĻŋāĻ¤ āĻ•āĻ°ā§‡āĻ›ā§‡āĨ¤ āĻŦāĻ›āĻ°ā§‡āĻ° āĻĒāĻ° āĻŦāĻ›āĻ° āĻ§āĻ°ā§‡ āĻ‰āĻĒāĻœāĻžāĻ¤āĻŋāĻ°āĻž āĻ¯ā§‡āĻŽāĻ¨ āĻ¸āĻžāĻāĻ“āĻ¤āĻžāĻ˛, āĻ—āĻžāĻ°ā§‹, āĻšāĻžāĻœāĻ‚, āĻšāĻžāĻ•āĻŽāĻž, āĻŽāĻ¨āĻŋāĻĒā§āĻ°ā§€, āĻ¤ā§āĻ°āĻŋāĻĒā§‚āĻ°ā§€, āĻŽāĻžāĻ°āĻŽāĻž āĻĒā§āĻ°āĻ­ā§ƒāĻ¤āĻŋ āĻ‰āĻĒāĻœāĻžāĻ¤ā§€ā§Ÿ āĻŦāĻžāĻ™āĻžāĻ˛ā§€ āĻ¸āĻ‚āĻ¸ā§āĻ•ā§ƒāĻ¤āĻŋ āĻ“ āĻœā§€āĻŦāĻ¨āĻ§āĻžāĻ°āĻžāĻ° āĻ¸āĻžāĻĨā§‡ āĻŽāĻŋāĻĨāĻ¸ā§āĻ•ā§āĻ°āĻŋā§ŸāĻž āĻ•āĻ°ā§‡ āĻ°ā§Ÿā§‡āĻ›ā§‡āĨ¤ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻ¸āĻŽā§ƒāĻĻā§āĻ§āĻŋāĻ¤ā§‡ āĻŽāĻŋāĻĨāĻ¸ā§āĻ•ā§āĻ°āĻŋā§ŸāĻžāĻŸāĻŋ āĻ¸ā§āĻĒāĻˇā§āĻŸāĻ°ā§‚āĻĒā§‡ āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻŋāĻ¤ āĻšā§Ÿā§‡āĻ›ā§‡āĨ¤

Folk songs may be sung individually or in chorus. Folk songs sung individually include Baul, Bhatiyali, Murshidi, Marfati, while songs sung in chorus include Kabigan, Leto, Alkap and Gambhira. Some songs are regional in character, but others are common to both Bangladesh and West Bengal.

āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ āĻāĻ•āĻ•āĻ­āĻžāĻŦā§‡ āĻŦāĻž āĻĻāĻ˛ā§€āĻ¯āĻŧāĻ­āĻžāĻŦā§‡ āĻ—āĻžāĻ“āĻ¯āĻŧāĻž āĻ¯āĻžāĻ¯āĻŧāĨ¤ āĻāĻ•āĻ•āĻ­āĻžāĻŦā§‡ āĻ—āĻžāĻ“āĻ¯āĻŧāĻž āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻ°āĻ¯āĻŧā§‡āĻ›ā§‡ āĻŦāĻžāĻ‰āĻ˛, āĻ­āĻžāĻŸāĻŋāĻ¯āĻŧāĻžāĻ˛āĻŋ, āĻŽā§āĻ°ā§āĻļāĻŋāĻĻāĻŋ, āĻŽāĻžāĻ°āĻĢāĻ¤āĻŋ; āĻ†āĻ° āĻĻāĻ˛ā§€āĻ¯āĻŧ āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻ°āĻ¯āĻŧā§‡āĻ›ā§‡ āĻ•āĻŦāĻŋāĻ—āĻžāĻ¨, āĻ˛ā§‡āĻŸā§‹, āĻ†āĻ˛āĻ•āĻžāĻĒ āĻ“ āĻ—āĻŽā§āĻ­ā§€āĻ°āĻžāĨ¤ āĻ•āĻŋāĻ›ā§ āĻ—āĻžāĻ¨ āĻŦā§ˆāĻļāĻŋāĻˇā§āĻŸā§āĻ¯ā§‡āĻ° āĻĻāĻŋāĻ• āĻĻāĻŋāĻ¯āĻŧā§‡ āĻ…āĻžā§āĻšāĻ˛ āĻ­āĻŋāĻ¤ā§āĻ¤āĻŋāĻ•, āĻ•āĻŋāĻ¨ā§āĻ¤ā§ āĻ…āĻ¨ā§āĻ¯ āĻ—ā§āĻ˛ā§‹ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻ“ āĻĒāĻļā§āĻšāĻŋāĻŽāĻŦāĻ™ā§āĻ—ā§‡ āĻāĻ•āĻ‡āĨ¤

Similarly, some songs belong distinctively to one religious community, Hindu or Muslim; others cross religious boundaries. Some songs belong exclusively to men, others to women, while some are sung by both men and women. Thus only women compose and sing Bratagan and Meyeli Git, but both men and women participate in the ‘roof-beating’ songs that are sung while beating down and firming rooftops.

āĻāĻ•āĻ‡ āĻ­āĻžāĻŦā§‡, āĻ•āĻŋāĻ›ā§ āĻ—āĻžāĻ¨ āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ°āĻ­āĻžāĻŦā§‡ āĻāĻ•āĻŸāĻŋ āĻ¨āĻŋāĻ°ā§āĻĻāĻŋāĻˇā§āĻŸ āĻ§āĻ°ā§āĻŽā§€āĻ¯āĻŧ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžāĻ¯āĻŧ, āĻšāĻŋāĻ¨ā§āĻĻā§ āĻ…āĻĨāĻŦāĻž āĻŽā§āĻ¸āĻ˛āĻŋāĻŽ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžāĻ¯āĻŧā§‡āĻ° āĻœāĻ¨ā§āĻ¯ āĻ…āĻ¨ā§āĻ¯āĻ—ā§āĻ˛ā§‹ āĻ§āĻ°ā§āĻŽā§€āĻ¯āĻŧ āĻ¸ā§€āĻŽāĻž āĻĒā§‡āĻ°āĻŋāĻ¯āĻŧā§‡ āĻ—ā§‡āĻ›ā§‡āĨ¤ āĻ•āĻŋāĻ›ā§ āĻ—āĻžāĻ¨ āĻ¸āĻŽā§āĻĒā§‚āĻ°ā§āĻŖāĻ°ā§‚āĻĒā§‡ āĻĒā§āĻ°ā§āĻˇ āĻ•ā§‡āĻ¨ā§āĻĻā§āĻ°āĻŋāĻ•, āĻ…āĻ¨ā§āĻ¯āĻ—ā§āĻ˛ā§‹ āĻ¨āĻžāĻ°ā§€āĻ•ā§‡āĻ¨ā§āĻĻā§āĻ°āĻŋāĻ•, āĻ†āĻŦāĻžāĻ° āĻ•āĻŋāĻ›ā§ āĻ†āĻ›ā§‡ āĻ¯ā§‡āĻ–āĻžāĻ¨ā§‡ āĻĒā§āĻ°ā§āĻˇ āĻ“ āĻ¨āĻžāĻ°ā§€ āĻ‰āĻ­āĻ¯āĻŧ āĻ—ā§‡āĻ¯āĻŧā§‡ āĻĨāĻžāĻ•ā§‡āĨ¤ āĻ¤āĻžāĻ‡ āĻļā§āĻ§ā§ āĻ¨āĻžāĻ°ā§€āĻ°āĻž āĻŦā§āĻ°āĻ¤āĻ—āĻžāĻ¨ āĻ“ āĻŽā§‡ā§Ÿā§‡āĻ˛āĻŋ āĻ—ā§€āĻ¤ āĻ°āĻšāĻ¨āĻž āĻ•āĻ°ā§‡ āĻ“ āĻ—āĻžā§Ÿ, āĻ¤āĻŦā§‡ āĻ¯āĻ–āĻ¨ āĻ¸ā§‚āĻ°ā§āĻ¯ āĻĒā§āĻ°āĻ–āĻ° āĻ¤āĻžāĻĒ āĻĻā§‡āĻ¯āĻŧ āĻāĻŦāĻ‚ āĻ˜āĻ°ā§‡āĻ° āĻšāĻžāĻ˛ āĻ āĻŋāĻ• āĻ•āĻ°āĻžāĻ° āĻ¸āĻŽāĻ¯āĻŧ āĻ¯ā§‡ āĻ—āĻžāĻ¨āĻ—ā§āĻ˛ā§‹ āĻ—āĻžāĻ“āĻ¯āĻŧāĻž āĻšāĻ¯āĻŧ āĻ¸ā§‡āĻ—ā§āĻ˛ā§‹āĻ¤ā§‡ āĻĒā§āĻ°ā§āĻˇ āĻ“ āĻŽāĻšāĻŋāĻ˛āĻž āĻ‰āĻ­āĻ¯āĻŧāĻ‡ āĻ…āĻ‚āĻļāĻ—ā§āĻ°āĻšāĻŖ āĻ•āĻ°ā§‡āĨ¤

Different folk songs belonging to different regions of Bangladesh are listed below: Baul and spiritual songs: Birbhum and Kushtia : Jarigan: Dhaka, Mymensingh, Sylhet, Faridpur, Murshidabad. Bhawaiya: Cooch Bihar, Rajshahi, Dinajpur, Rangpur, Pabna. Gambhira: Rajshahi, Malda.

āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻāĻ˛āĻžāĻ•āĻžāĻ° āĻ­āĻŋāĻ¨ā§āĻ¨ āĻ­āĻŋāĻ¨ā§āĻ¨ āĻ˛ā§‹āĻ•āĻ¸āĻ‚āĻ—ā§€āĻ¤ā§‡āĻ° āĻ¤āĻžāĻ˛āĻŋāĻ•āĻž āĻ¨āĻŋāĻšā§‡ āĻĻā§‡āĻ“ā§ŸāĻž āĻšāĻ˛ā§‹: āĻŦāĻžāĻ‰āĻ˛ āĻ“ āĻ†āĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ• āĻ—āĻžāĻ¨: āĻŦā§€āĻ°āĻ­ā§‚āĻŽ āĻ“ āĻ•ā§āĻˇā§āĻŸāĻŋā§ŸāĻžāĨ¤ āĻœāĻžāĻ°āĻŋāĻ—āĻžāĻ¨: āĻĸāĻžāĻ•āĻž, āĻŽā§ŸāĻŽāĻ¨āĻ¸āĻŋāĻ‚āĻš, āĻ¸āĻŋāĻ˛ā§‡āĻŸ, āĻĢāĻ°āĻŋāĻĻāĻĒā§āĻ°, āĻŽā§āĻ°ā§āĻļāĻŋāĻĻāĻžāĻŦāĻžāĻĻāĨ¤ āĻ­āĻžāĻ“ā§ŸāĻžāĻ‡ā§ŸāĻž: āĻ•ā§āĻšāĻŦāĻŋāĻšāĻžāĻ°, āĻ°āĻžāĻœāĻļāĻžāĻšā§€, āĻĻāĻŋāĻ¨āĻžāĻœāĻĒā§āĻ°, āĻ°āĻ‚āĻĒā§āĻ°, āĻĒāĻžāĻŦāĻ¨āĻžāĨ¤ āĻ—āĻŽā§āĻ­ā§€āĻ°āĻž: āĻ°āĻžāĻœāĻļāĻžāĻšā§€, āĻŽāĻžāĻ˛āĻĻāĻžāĨ¤

Wedding songs: all regions.
Roof-beating songs: the northern regions of Bangladesh.
Sari: the lower marshy regions of Sylhet and Mymensingh.
Bhatiyali: nearly all regions of Bangladesh.
Pastoral songs: Dhaka, Mymensingh, Faridpur, Sylhet, Habiganj.

āĻŦāĻŋā§Ÿā§‡āĻ° āĻ—āĻžāĻ¨: āĻ¸āĻŦ āĻ…āĻžā§āĻšāĻ˛āĨ¤
āĻšāĻžāĻ˛-āĻĒāĻŋāĻŸāĻžāĻ¨ā§‹ āĻ—āĻžāĻ¨: āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻ‰āĻ¤ā§āĻ¤āĻ°āĻžāĻžā§āĻšāĻ˛āĨ¤
āĻ¸āĻžāĻ°āĻŋ: āĻ¸āĻŋāĻ˛ā§‡āĻŸ āĻ“ āĻŽā§ŸāĻŽāĻ¨āĻ¸āĻŋāĻ‚āĻšā§‡āĻ° āĻ¨āĻŋāĻšā§ āĻœāĻ˛āĻžāĻžā§āĻšāĻ˛āĨ¤
āĻ­āĻžāĻŸāĻŋā§ŸāĻžāĻ˛ā§€: āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻĒā§āĻ°āĻžā§Ÿ āĻ¸āĻŦ āĻ…āĻžā§āĻšāĻ˛āĨ¤
āĻ°āĻžāĻ–āĻžāĻ˛āĻŋā§ŸāĻž āĻ—āĻžāĻ¨: āĻĸāĻžāĻ•āĻž, āĻŽā§ŸāĻŽāĻ¨āĻ¸āĻŋāĻ‚āĻš, āĻĢāĻ°āĻŋāĻĻāĻĒā§āĻ°, āĻ¸āĻŋāĻ˛ā§‡āĻŸ, āĻšāĻŦāĻŋāĻ—āĻžā§āĻœāĨ¤

English āĻŦāĻžāĻ‚āĻ˛āĻž
Vocabulary

1.Sophisticated

2.Heritage

3.Secular

4.Springs

5.Orally

6.Spontaneous

7.Dialect

8.Appealing

āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°

1.adjective/ āĻ…āĻŦāĻŋāĻļā§āĻĻā§āĻ§; āĻŦāĻžāĻ¸ā§āĻ¤āĻŦāĻŦā§āĻĻā§āĻ§āĻŋāĻ¸āĻŽā§āĻĒāĻ¨ā§āĻ¨; āĻŦāĻžāĻ¸ā§āĻ¤āĻŦāĻ§āĻ°ā§āĻŽā§€; āĻ­ā§‡āĻœāĻžāĻ˛āĻŽāĻŋāĻļā§āĻ°āĻŋāĻ¤; āĻ…āĻĒā§āĻ°āĻ•ā§ƒāĻ¤;

2.noun/ āĻ‰āĻ¤ā§āĻ¤āĻ°āĻžāĻ§āĻŋāĻ•āĻžāĻ°, āĻ‰āĻ¤ā§āĻ¤āĻ°āĻžāĻ§āĻŋāĻ•āĻžāĻ° āĻ¸ā§‚āĻ¤ā§āĻ°ā§‡ āĻĒā§āĻ°āĻžāĻĒā§āĻ¤ āĻŦāĻŋāĻˇā§Ÿ

3.noun/ āĻĒāĻžāĻ°ā§āĻĨāĻŋāĻŦ, āĻ†āĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ• āĻ¨ā§Ÿ āĻāĻŽāĻ¨; āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ°āĻŋāĻ•; āĻ§āĻ°ā§āĻŽāĻ¨āĻŋāĻ°āĻĒā§‡āĻ•ā§āĻˇ

4./noun/ āĻŦāĻ¸āĻ¨ā§āĻ¤; āĻĒā§āĻ°āĻ¸ā§āĻ°āĻŦāĻŖ; āĻ‰āĻĻāĻ¯āĻŧ; āĻ•āĻžāĻ°āĻŖ;

5.adverb/ āĻŽā§āĻ–ā§‡ āĻŽā§āĻ–ā§‡; āĻŽā§ŒāĻ–āĻŋāĻ•āĻ­āĻžāĻŦā§‡; āĻŽā§āĻ– āĻĻāĻŋā§Ÿā§‡;

6.adjective/ āĻ¸ā§āĻŦāĻ¤:āĻ¸ā§āĻĢā§‚āĻ°ā§āĻ¤, āĻ¸ā§āĻŦā§‡āĻšā§āĻ›āĻžāĻŦā§ƒāĻ¤ā§āĻ¤

7.noun/ āĻ†āĻžā§āĻšāĻ˛āĻŋāĻ• āĻ­āĻžāĻˇāĻž

8.adjective/ āĻŽāĻ°ā§āĻŽ āĻ¸ā§āĻĒāĻ°ā§āĻļā§€

 

 

English āĻŦāĻžāĻ‚āĻ˛āĻž
Vocabulary

9. Explicit

10. Manifestation

11. Emotive

12. Inequality

13. Supernatural

14. Mystical

15. Metaphors

16. Interaction

āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°

9. adjective/ āĻ¸ā§āĻĒāĻˇā§āĻŸ; āĻĒāĻ°āĻŋāĻˇā§āĻ•āĻžāĻ°āĻ­āĻžāĻŦā§‡ āĻŦāĻ°ā§āĻŖāĻŋāĻ¤; āĻ¸ā§āĻĒāĻˇā§āĻŸāĻ­āĻžāĻˇāĻŋāĻ¤; āĻ¸ā§āĻŦā§āĻ¯āĻ•ā§āĻ¤;

10. noun/ āĻ‰āĻĻā§āĻ­āĻžāĻ¸; āĻĒā§āĻ°āĻ•āĻžāĻļ; āĻĒā§āĻ°āĻ¤āĻŋāĻ­āĻžāĻ¸; āĻ…āĻ­āĻŋāĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋ; āĻĒā§‚āĻ°ā§āĻŖāĻŦāĻŋāĻ•āĻžāĻļ; āĻŦāĻŋāĻ•āĻžāĻļ;

11. adjective/ āĻ†āĻŦā§‡āĻ—āĻĒā§āĻ°āĻŦāĻŖ; āĻ†āĻŦā§‡āĻ—āĻĒā§‚āĻ°ā§āĻŖ; āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻšāĻžāĻāĻšāĻ˛ā§āĻ¯;

12. noun/ āĻ…āĻ¸āĻŽāĻ¤āĻž; āĻ­āĻŋāĻ¨ā§āĻ¨āĻ¤āĻž; āĻ…āĻ¯ā§‹āĻ—ā§āĻ¯āĻ¤āĻž āĻ…āĻ¨ā§āĻĒāĻ¯ā§‹āĻ—āĻŋāĻ¤āĻž

13. /noun/ āĻ…āĻ¤āĻŋāĻĒā§āĻ°āĻžāĻ•ā§ƒāĻ¤; āĻ…āĻ˛ā§ŒāĻ•āĻŋāĻ•

14. adjective/ āĻ°āĻšāĻ¸ā§āĻ¯āĻŽāĻ¯āĻŧ; āĻ…āĻ¸ā§āĻĒāĻˇā§āĻŸ; āĻ¨āĻŋāĻ—ā§‚āĻĸāĻŧ; āĻ˛ā§āĻ•ā§āĻ•āĻžāĻ¯āĻŧāĻŋāĻ¤;

15. noun/ āĻ°ā§āĻĒāĻ•; āĻ°ā§āĻĒāĻ•āĻžāĻ˛āĻ™ā§āĻ•āĻžāĻ°;

16. noun/ āĻŽāĻŋāĻĨāĻˇā§āĻ•ā§āĻ°āĻŋāĻ¯āĻŧāĻž; āĻĒāĻžāĻ°āĻ¸ā§āĻĒāĻ°āĻŋāĻ• āĻ•ā§āĻ°āĻŋā§ŸāĻž-āĻĒā§āĻ°āĻ¤āĻŋāĻ•ā§āĻ°āĻŋā§ŸāĻž;

 

English āĻŦāĻžāĻ‚āĻ˛āĻž
Vocabulary

17. Distinctively

18. Exclusive

āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°

17. /adjective/ āĻ¸ā§āĻŦāĻžāĻ¤āĻ¨ā§āĻ¤ā§āĻ°ā§āĻ¯āĻ¸ā§‚āĻšāĻ•; āĻĒāĻžāĻ°ā§āĻĨāĻ•ā§āĻ¯āĻ¸ā§‚āĻšāĻ•; āĻŦā§ˆāĻļāĻŋāĻˇā§āĻŸā§āĻ¯āĻ¸ā§‚āĻšāĻ•;

18. /noun/ āĻŦāĻšāĻŋāĻ¸ā§āĻ•āĻžāĻ°āĻ•, āĻāĻ•āĻšā§‡āĻŸāĻŋā§ŸāĻž, āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ°