Английская Википедия:Borgeet
Шаблон:Use dmy dates Шаблон:Use Indian English Шаблон:Infobox music genre
Borgeets (Шаблон:Lang-as) are a collection of lyrical songs that are set to specific ragas but not necessarily to any tala. These songs, composed by Srimanta Sankardeva and Madhavdeva in the 15th-16th centuries, are used to begin prayer services in monasteries, e.g. Satra and Namghar associated with the Ekasarana Dharma; and they also belong to the repertoire of Music of Meghalaya outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations,[1] and differ from other lyrics associated with the Ekasarana Dharma.[2] Similar songs composed by others are not generally considered Шаблон:Transliteration.
The first Borgeet was composed by Srimanta Sankardeva during his first pilgrimage at Badrikashram in c1488, which is contemporaneous to the birth of Dhrupad in the court of Man Singh Tomar (1486-1518) of Gwalior.[3] The Borgeets are written in Brajavali dialect that is distinct from the Brajabuli used in Orissa and Bengal—it is a language where Maithili inflections were added to Assamese vocables and poruniciations—[4] created by Shankardev and Madhabdev.
Lyrics
The Шаблон:Transliteration are written in the Шаблон:Transliteration form of verse. The first pada, marked Шаблон:Transliteration,[5] works as a refrain and is repeated over the course of singing of the succeeding verses.[6] In the last couplet, the name of the poet is generally mentioned. The structure of Шаблон:Transliteration is said to model the songs of 8-10th century Charyapada.[7]
The first borgeet, mana meri rama-caranahi lagu, was composed by the Sankardeva at Badrikashrama during his first pilgrimage. The language he used for all his Шаблон:Transliteration is Brajavali, an artificial Maithili-Assamese mix; though Madhavdeva used Brajavali very sparingly.[8] Brajavali, with its preponderance of vowels and alliterative expressions, as considered ideal for lyrical compositions, and Sankardeva used it for Шаблон:Transliteration and Ankia Naats.[9] Sankardeva composed about two hundred and forty Шаблон:Transliteration, but a fire destroyed them all and only about thirty four of them could be retrieved from memory. Sankardeva, much saddened by this loss, gave up writing Шаблон:Transliteration and asked Madhavdeva to write them instead.
Madhavdeva composed more than two hundred Шаблон:Transliteration, which focus mainly on the child-Krishna.[10]
Music
Raga: Bhatiyali
Composer: Madhavdeva
Artist: Ashwini Bhide-Deshpande
The music of Шаблон:Transliteration are based on ragas, which are clearly mentioned; and raginis, the female counterparts of ragas, are emphatically not used.[11] The rhythm (tala), on the other hand, are not mentioned; and Шаблон:Transliteration need not be set to rhythm. Nevertheless, by convention tala is used when a borgeet is performed for an audience, or in a congregation, and in general specific ragas are associated with specific talas (e.g., Ashowari-raga with yati-maan; Kalyana-raga with khar-maan, etc.).[12] The lightness that is associated with the khyal type of Indian classical music is absent, instead the music is closer to the Dhrupad style. The singing of a borgeet is preceded by raga diya or raga tana, the local term for alap, but unlike the syllables used in Khyal or Dhrupad, words like Rama, Hari, Govinda, etc. are used.[13] Furthermore, raga diya is fixed as opposed to alap which is improvised.
The technique of Borgeet follows the Prabandhan Gana tradition which is contemporary to Dhrupad and Kriti of Hindustani and Carnatic music. In Шаблон:Transliteration, there are Talas from eight matras to thirty-two matras, all comprising three parts of proportionate length, viz., Ga-man, Ghat and Cok. These Talas are different in structure, rhythmic pattern as well as playing style from the talas now played with Hindustani and Carnatic music. A few like Rupaka, Ektali, Yati, Bisam, etc. are mentioned not only in the Sangita Sastras like Sangita Ratnakara but also in Jayadeva’s Gita Govinda.[14]
Style
It is regarded that Шаблон:Transliteration have been forming an indispensable part of Шаблон:Lang from the days of Sankardeva. The regular performance of Шаблон:Lang in Satra and Namghars is done by a single person called Шаблон:Lang, where the Шаблон:Lang first sings only the outline of a raga suitable for that time of the day, and sings a Borgeet or an Шаблон:Lang set in that raga without maintaining any beat, repeating the Шаблон:Lang or Шаблон:Lang after every couplet of the Шаблон:Lang (subsequent verses). Such renderings of Borgeet are considered as a singing in Шаблон:Lang (sheer voice-manipulation) or Шаблон:Lang (freedom from rhythmic restriction). The performance of Шаблон:Lang in early morning accompanied by the Khuti Taal is called a Шаблон:Lang. The Шаблон:Lang performance which is accompanied by Bortaal can be rendered in both morning and dusk. Both the Manjira-prasanga and Tal-kobowa prasanga are played with Шаблон:Transliteration. On occasions like Krishna Janmashtami, Doul, Bihu, death anniversaries (tithi) of religious preceptors including Sankardeva and Madhavdeva and during the whole month of Bhadra the performance of Borgeet is preceded by an orchestral recital of Khol, Taal, Negera (Percussion instrument) etc., which is variously referred to as Yora-prasanga, Khol-prasanga or Yogan-gowa. The orchestra comprises one or two pairs of Negera, Taal, Khols which are played in unison.[15][16]
Contemporary uses
The strict rules that are associated with the Шаблон:Transliteration, and still practiced in the Sattras, are eschewed in popular renderings. A very knowledge Khol player and a renowned singer Khagen Mahanta has sung and documented some Шаблон:Transliteration in its pure form in an album called Rajani Bidur. He was from the family of Satradhikars. He and his sister Nikunjalata Mahanta from the Gajala Satra were very well versed with this form. Шаблон:Transliteration were also used by Bhupen Hazarika,[17] in movies, and popular singers like Zubeen Garg have released their renderings.[18] Music director, Dony Hazarika has made a successful attempt to celebrate the Borgeet at the national level through his album, Bohnimaan...The folk flows.
Film critic and short film maker Utpal Datta made a short film on Borgeet, titled Шаблон:Lang (https://www.youtube.com/watch?v=V3I5qgXt9G4) under the banner Pohar Media. Anupam Hazarika has produced the film. All leading exponents and artists were assembled for the film. Dr. Birendra Nath Datta, leading Satriya scholar, music director, singer and folklorist has narrated the content of the film while singer Gunindra Nath Ozah, Tarali Sarma, Sarod player Tarun Kalita, violin player Manoj Baruah and Satriya dancer Prerona Bhuyan has participated in the film with their arts to express various shades of the aesthetics of Borgeet.
Music director Anurag Saikia is known for taking an initiative of syncing Шаблон:Transliteration to the symphonic orchestra.[19]
Translations
Шаблон:Transliteration have been translated into Hindi by Devi Prasad Bagrodia.[20]
See also
References
General sources
- ↑ Шаблон:Harv
- ↑ The other forms lyrics are the bhatima (laudatory odes), kirtan- and naam-ghoxa (lyrics for congregational singing), ankiya geet (lyrics set to beats and associated with the Ankiya Naat), etc.
- ↑ Шаблон:Harv
- ↑ 'The Brajabuli idiom developed in Orissa and Bengal also. But as Dr Sukumar Sen has pointed out "Assamese Brajabuli seems to have developed through direct connection with Mithila" (A History of Brajabuli Literature, Calcutta, 1931 p1). This artificial dialect had Maithili as its basis to which Assamese was added.' Шаблон:Harv
- ↑ is likely an abbreviation of Dhruva, the Шаблон:Transliteration named in the Prabandha musical tradition Шаблон:Harv
- ↑ Шаблон:Harv
- ↑ Шаблон:Harv
- ↑ "Madhavdev did not use Brajabuli the way Sankardev did. If we dropped a few words, the language of most of Madhavdev's Шаблон:Transliteration reduce to old Assamese" Шаблон:Harv.
- ↑ Шаблон:Harv
- ↑ Шаблон:Harv
- ↑ Шаблон:Harv
- ↑ Шаблон:Harv
- ↑ Шаблон:Harv
- ↑ Шаблон:Cite news
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite journal
- ↑ Tejore Kamalapoti, by Madhavdeva, sung by Bhupen Hazarika (1955) Piyoli Phukan
- ↑ Pawe Pori Hori, by Shankardeva, sung by Zubeen Garg.
- ↑ Шаблон:Cite web
- ↑ Шаблон:Cite web
