for the Hindi film Bandish film Bandish , Cheez or Gat ref Cite book author Bagchee, Sandeep authorlink coauthors title N d Understanding R ga Music date 1998 publisher BPI India PVT Ltd location isbn 81 86982 07 8 pages p. 328 ref is a fixed, melodic composition in Hindustani classical music Hindustani vocal or instrumental music . ref http www.sadarang.com glossary1.htm ref It is set in a specific raga , performed with rhythmic accompaniment by a tabla or pakhavaj , a steady drone, and melodic accompaniment by a sarangi , violin or harmonium . There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharana s protected their bandishes from moving out of the family with gross incoherent vocal renditions. ref http www.hinduonnet.com thehindu mp 2003 03 03 stories 2003030300530200.htm ref Sections Sthayi or Asthaayi The initial, Rondo phrase or line of a fixed, melodic composition. Antara music Antara The first body phrase or line of a fixed, melodic composition. Sanchaari The third body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad bandishes. Aabhog The fourth and concluding body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad bandishes. Tempo There are three variations of Bandish, regarding tempo Vilambit Vilambit Bandish A slow and steady melodic composition, usually in Largo to Adagio speeds. Madhyalaya Madhyalaya Bandish A medium tempo melodic competition, usually set in Andante to Allegretto speeds. Drut Drut Bandish A fast tempo melodic composition, usually set to Allegretto speed, and onwards. See also Portal Indian classical music References reflist 2 music genre stub Hindustani Classical Music page end Category Indian styles of music Category Hindustani music Category Musical form mr ... more details
Infobox film name Bandish image image size caption director K. Bapaiah producer D. Rama Naidu writer narrator starring Rajesh Khanna br Hema Malini br Danny Denzongpa br Bindiya Goswami br Tanuja br Om Prakash br G. Asrani music Laxmikant br Pyarelal cinematography editing distributor D. Rama Naidu released 1980 runtime country India language Hindi language Hindi budget gross preceded by followed by Bandish aka Bandhish English translation Restriction is a 1980 Hindi language Hindi film directed by K. Bapaiah and starring Rajesh Khanna , Hema Malini and Danny Denzongpa . ref name bwh http www.bollywoodhungama.com movies cast 4118 index.html bollywoodhungama.com . film cast crew, Retrieved 10 24 2008 ref ref name citwf http www.citwf.com film28971.htm citwf.com , The Complete Index to World Film, Retrieved 10 24 2008 ref The movie is a commercial attempt by D. Rama Naidu , who had earlier produced Prem Nagar with the same lead pair on 1974. The music is by Laxmikant Pyarelal. Plot Kishan Rajesh Khanna a college student is taught a lesson in humility by fellow student, Madhu Hema Malini ... crores in 1980 ref name ibosnetwork.com http www.ibosnetwork.com asp filmbodetails.asp?id Bandish ...?ei zWkxTPjZN8KB8gbBzNWLAw&ct result&id Q5UqAAAAYAAJ&dq bandish 1980 search anchor ref . Cast Rajesh ... External links Imdb title 0154201 http www.citwf.com film28971.htm Bandish at The Complete Index to world Film http rental.bigflix.com bigflix ShowMovie Hindi 1980 BandishBandish at BigFlix.com http www.gomolo.in Movie Movie.aspx?mid 5162 Bandish at Gomlo.in http www.whereincity.com movies bollywood 4171 Bandish at WhereInCity http www.ultraindia.com movies filmography filmography.php?choice 1&na BANDISH 20 1980 &set &PHPSESSID e06e772ccc93ac115729d9d29f052eef Bandish at UltraIndia http www.bollywoodhungama.com movies cast 4118 index.html Bandish at Bollywoodhungama http www.chakpak.com movie bandish story 1927 Bandish at ChakPak http rajeshkhannasuperstar.blogspot.com 2008 03 bandish 1980.html ... more details
Antara is the equivalent of a Verse poetry verse in Hindustani classical music . In Hindustani classical music , the fixed dhrupad bandish section is in four parts of which only the first two are performed regularly Sthayi pallavi in Carnatic music the first line of the Sthayi serves as a Cadence music , while the section itself serves as a base for the singer returns to the Sthayi time and again after each part Antara Anupallavi in Carnatic music the intermediate part sung in a high register focusing on the tar shadja, with a good deal of text manipulation and repeated forays into sthayi the third section Sanchari charanam in Carnatic music created by the division of the Abhoga and it remains a free moving section the fourth and concluding section Abhoga Pallavi in Carnatic music because this section is often replaced by the Sthayi includes notes from all three registers, and in present day performances, may well be sung with the Sanchari, if these two sections are included. See also Portal Indian classical music External links http www.indiaheritage.com perform music h v dr.htm IndiaHeritage.org Category Hindustani music Category Formal sections in music analysis ... more details
In Hindustani music , sargam refers to singing the swara note s instead of the words of a bandish composition , with use of various ornamentations such as meend , gamak , kan and khatka, as part of a khyal performance. ref http www.itcsra.org sra faq index.html Sargam at the ITC Sangeet Research Academy ref This is generally done in medium tempo as a bridge between the alap and taan portions. As an example, one could sing PMRSNSRRSRNSPNMPGMNNPMGMRSNS in raga Adana raga Adana see swara for explanation of the notes . vague date February 2012 what does this example mean? why could you sing those letters? The use of sargam in khyal performances was introduced by Abdul Karim Khan , who was inspired by its use in Carnatic music . Aman Ali Khan further refined its use and made it an integral part of the Bhendibazaar gharana Bhendibazaar style . Many of the khyal gharana styles today use sargam to some extent, with the exception of the Jaipur Atrauli Gharana Jaipur Atrauli and Gwalior Gharana Gwalior styles. References references Category Hindustani music Category Musical terminology India music stub ... more details
Agra Gharana is a tradition of Hindustani classical vocal music descended from the Nauhar Bani . So far, Nauhar Bani has been traced back to around 1300 AD, during the reign of Emperor Allauddin Khilji of Delhi . The first known musician of this tradition is Nayak Gopal. The style prevalent then in the Gharana was Dhrupad Dhamar . Ustad Ghagghe Khudabuksh 1790 1880 AD introduced the Khayal style of Gwalior Gharana into Agra gharana which Khudabaksh learnt from Natthan Paribaksh of Gwalior. Furthermore the Khayal style of Atrauli Gharana was added in the late 19th century. Distinguishing characteristics The gayaki of the Agra Gharana is a blend of khayal gayaki and Dhrupad Dhamar. In training, both the khayal and dhrupad components run hand in hand and are not taught in an isolated fashion. This is obvious from the svaroccara The method of singing notes of the Agra Gharana which demands that the projection of voice be more forceful and voluminous than encountered in khayal gayaki.The svarocarra of the gharana also hints the reminiscent of Dhrupad in which swaras are uttered open and bare without grace notes . Most khayal performances by artists of Agra gharana commence with the nom tom alaap, a tradition unique to the Agra gharana. Different facets of a raga are displayed with the help of bandish or cija while the raga is liberated using vistaar. The use of bandish or cija for performing a raga is ubiquitous in all Hindustani classical music gharanas but cija or bandish occupy a special position in the teaching methodology of the Agra Gharana. This is the only Gharana that has still continued to sing Dhrupad Dhamar along with Nom Tom Alap, Khayal , Thumri , Tappa , Tarana , Hori , Dadra , Ghazal , Kaul, Rasiya etc. Some prominent exponents Ut. Ghagghe Khudhabaksh Ut. Mehboob Khan Daras Piya Ut. Kale Khan Saras Piya Ut. Ghulam Abbas Khan Sabrang Ut. Natthan Khan Ut. Tassaduq Hussain Khan Vinodpiya Ut. Faiyaz Khan 1880 1950 Prempiya Ut. Atta Hussain Khan Ratan Piya Ut. ... more details
Pakistani film list A list films produced in Pakistan in 1980 see 1980 in film and in the Urdu language 1980 class wikitable Title Director Cast Genre Notes Aap Ki Khatir 1980 film Aap Ki Khatir Rani, Shahid, Rahat Atish 1980 film Atish Najma, Ghulam Mohayyuddin Azmaish 1980 film Azmaish Shabnum, Shahid, Rahat Badalte Mausam Shabnum, Nadeem, Asif Raza Badnaam 1980 film Badnaam Rani, Mohammad Ali, Waheed Bandhan 1980 film Bandhan Shaukat Hashmi Najma , Waheed Murad , Ghulam Mohayyuddin , Lehri , Nazar , Aslam Pervez Musical film Musical The film was released on March 21, 1980. Bandish 1980 film Bandish Nazrul Islam Shabnam , Nadeem , Diana Christiana , Ray Martin , Talish , Allauddin Drama The only Pakistan Indonesia co production film, released on January 11, 1980. The Blood of Hussain Jamil Dehlavi Aliya Begam, Durriya Kazi Chhote Nawab Babra, Shahid, Waheed Daaman 1980 film Daaman Babra Sharif, Asif Raza Mir Farzana 1980 film Farzana Kveeta, Shahid, Najma Hanste Aansoo Nisho, Tariq, Allauddin Haseena Maan Jayegi 1980 film Haseena Maan Jayegi Asiya, Rangeela, Lehri Haye Yeh Shohar Rani, Shahid, Asif Raza Hum Dono 1980 film Hum Dono Pervez Malik Shabnum , Nadeem , Kamal, Nimmi , Saiqa, Jamil Bismil , Aslam Pervez Drama The film was released on February 25, 1980. Khandan 1980 film Khandan Riaz Malik Najma , Rahat Kazmi , Badar Munir , Ishrat Chohdry , Tamanna Musical film Musical The film was released on March 28, 1980. Mehal Mere Sapno Ka Kveeta, Nadeem, Sangeeta Mehndi Lagi Mere Haath Kaveeta, Nadeem, Sangeeta Nahin Abhi Nahin Nazrul Islam Shabnam , Faisal , Ayyaz , Arzoo , Deeba , Qavi , Rangeela Musical film Musical Faisal and Ayaz debut film. The film was released on October 21, 1980. Piari 1980 film Piari Shabnum, Waheed Murad Rishta 1980 film Rishta Shabnum, Nadeem, Anjuman Saathi 1980 film Saathi Nazar Shabab Babra Sharif , Shahid , Asif Raza Mir , Bindia , Rangeela , Shehla Gill , Nayyar Sultana Musical film Musical The film was released on May 9, 1980. Saim ... more details
Kahen is Satyasheelji s two CD anthology of 16 bandish es both traditional as well as his own. To quote ... of various classical compositions, Satyasheelji explores the song within the bandish , so to speak ... from the mountains to the plains, from Banares to the realm of the Shayars, from the Bandish and the Tappa ... more details
About the singing technique in classical music other uses Taan disambiguation Hindustani Classical Music Taan Hindi lang hi is a virtuoso technique used in the vocal performance of a raga in Hindustani classical music . It involves the singing of very rapid melodic passages using vowels, often the long a as in the word far , and it targets at improvising and to expand weaving together the notes in a fast tempo. It is similar to the technique ahaat , used in Arabic music. The murki , a type of Ornament music Indian classical music ornamentation , is a swift and taan like movement that is heavily used in thumri . ref http www.itcsra.org alankar murki murki index.html ref Types Taans are clustered in different types Bol Taan Taan can be sung by utilizing the words of the bandish. This is a difficult type of a taan as in this correct pronunciation, meaning of the composition, everything has to be taken into consideration. Shuddha Sapat Straight Taan The notes are placed in an order in one or more octaves. Koot Taan The notes do not remain in order. Therefore the nature of Koot Taans is complicated. Mishra Taan Combination of sapat and koot taans. Gamak Taan Gamak is a technique by which a force is added to notes and each note is repeated at least twice. Many other types of taan exist, e.g. Ladant taan, Zatkaa taan, Gitkari taan, Jabde ki taan, Sarok Taan, Halak Taan or Palat taan. See also Hindustani classical music Ahaat References reflist 2 External links http www.itcsra.org alankar alankar.html Alankars ITC SRA DEFAULTSORT Taan Music Category Hindustani music India music stub ... more details
interest or mystery to the listener s experience. The singing itself places Bandish the composition ... and guidance on its singing is provided by the bandish. The asthayi section is sung twice before ... more details
a prolific writer and poet under the pseudonym Rasan Piya . Many compositions bandish that he sings ... by the different reputed organizations like Sangeet Maharishi , Sangeet Sartaz , Rassagar , Bandish ... more details
Infobox film name Maqsad image maqsadfilm.jpg image size caption Vinyl Record Cover director K. Bapaiah producer D. Rama Naidu writer Murali Paruchari br Gopalakrishna Paruchuri br Venkateswara Rao Paruchuri dialogue Kader Khan starring Rajesh Khanna br Jeetendra br Jayapradha br Sridevi br Amjad Khan br Prem Chopra br Ranjeet br Shakti Kapoor br Kader Khan br Waheeda Rehman br Shreeram Lagoo br G. Asrani music Bappi Lahiri cinematography A. Venkatesh cinematographer A. Venkatesh editing K.A. Marthand distributor D. Rama Naidu released May 4, 1984 runtime 200 min country flagicon India India language Hindi language Hindi budget gross preceded by followed by Maqsad English translation Aim is a 1984 Hindi language Hindi film ref http www.ibosnetwork.com asp filmbodetails.asp?id Maqsad ref directed by K. Bapaiah and starring Superstar Rajesh Khanna and Jumping Jack Jeetendra in the lead roles. This was the third straight movie with Rajesh and Jeetendra together in the lead roles. The film is a remake of the Telugu movie Mundadugu 1983 directed by K. Bapaiah and produced by D. Rama Naidu .After success of Telugu film, the same team decided to direct and produce in Hindi. It was the second highest grosser at the box office in 1984. ref http www.boxofficeindia.com showProd.php?itemCat 190&catName MTk4NA ref The movie is third film produced by D. Rama Naidu with Rajesh Khanna in the lead after Prem Nagar 1974 film Prem Nagar and Bandish film Bandish . The music is by Bappi Lahiri . This film saw Amjad Khan play a comedian. Plot Rajeshwar is the only son of Dharamraj, who is an industrialist, and partners with Naglingam Reddy, Nagendra, and Dhanraj. Rajeshwar then meets a girl from a poor family Bharati, who happens to be his school teachers daughter and falls in love with her. Bharati s father is Vishnupratap a schoolteacher, who is really uhappy for he is unable to earn enough money to feed his family and provide them with basic amenities. He and other teachers work in th ... more details
Refimprove date May 2010 Hindustani Classical Music infobox Khyal or Khayal , Hindi , Urdu is the modern genre of Hindustani classical music classical singing in North India . Its name comes from an Arabic language Arabic word meaning imagination . It is thought to have developed out of the qawwali singing style. ref Cite book author Menon, Raghava R. authorlink coauthors title The Penguin Dictionary of Indian Classical Music year 1995 publisher Penguin Books India Ltd location isbn 0 14 051324 8 pages 95 ref It appeared more recently than dhrupad , is a more free and flexible form, and it provides greater scope for improvisation . Like all Indian classical music , khyal is musical mode modal , with a single melodic line and no harmony harmonic parts. The modes are called raga , and each raga is a complicated framework of melodic rules. Characteristics Khyal bases itself on a repertoire of short songs two to eight lines a khyal song is called a bandish . Every singer generally renders the same bandish differently, with only the text and the raga remaining the same. Khyal bandishes are typically composed in a variant of Hindustani language Urdu Hindi , and sometimes in Persian language Persian , Marathi language Marathi or Punjabi language Punjabi , and these compositions cover diverse topics, such as romantic or divine love, praise of kings or gods, the seasons, dawn and dusk, and the pranks of Krishna, and they can have symbolism and imagery. ref name Bagchee Cite book author Bagchee, Sandeep authorlink coauthors title N d Understanding R ga Music year 1998 publisher BPI India PVT Ltd location isbn 81 86982 07 8 pages 121 125 ref The bandish is divided into two parts &mdash the sthayi or asthayi and the antara . The sthayi often uses notes from the lower octave and the lower half of the middle octave, while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi . ref name Bagchee The singer uses the ... more details
took many of the Raag based Bhajans either taking the Raag or Bhajan and created Raags and Bandish ... Kanada Bandish Mero Piya Rasiya and Bihagda Bandish Ye Pyaari pag hole . Students Khansahab s most ... more details
Download ref . In 2010,Popular Indian rock band Bandish collaborated with him for their second self titled album. ref cite web title Bandish collaborates with Pete Lockett for second album url http www.sify.com news bandish collaborates with pete lockett for second album news national khuwOdbfjag.html ... more details
Use dmy dates date September 2011 Hindustani Classical Music Adana is an Indian raga . It is also called Adana kanada. Aroha and avaroha Arohana S R M P n P M P n S is quite small br S R g M P n P S br Avarohana S d n P g M R s Vadi and samavadi Pakad or Chalan Organization and relationships Flat Ga is usually omitted in ascent and in descent always appears in the distinctive Kanada phrase g M R S. Flat Dha is present in descent, but one should never linger on it. In fact it is omitted by some musicians completely. Most movements are in the upper tetrachord , around high Sa. It is very common to begin the elaboration of this raga with high Sa ref name Bor 1997 Bor 1997 ref . br Adana is part of the Kanada Raga group Behaviour Empty section date July 2010 Samay Time Late Night 12 3 Seasonality Rasa Historical Information d na was previous called n ref Kaufmann ref Adana was a major raga in the 17th century and a combination of the then current ragas Raga Malhar Malhar and Kanada . In a ragamala from Mewar it is depicted as an ascetic man sitting on a tiger skin, however, Somanatha describes him as Kama the god of love. His Adana was quite different from the raga as it is performed today. ref name Bor 1997 Origins Important Recordings Fateh Ali Khan, Music Today Cassette A94015, Indian classical music Madyalaya and Drut Tintal , Chal kahun chhail Singh Bandhu, Taan Kaptaan References reflist 30em External links Examples http www.youtube.com watch?v ytnKSJR txA Ustad Fateh Ali Khan YouTube http www.youtube.com watch?v Y5DOy3qkeDU dhrupad bandish performed at the 2003 Tokyo Summer Festival in Japan. The bandish is Shiva Shiva shiva in raga Adana set to Sooltaal 10 beat cycle . YouTube http www.youtube.com watch?v MZ5XAzMD8iI Ahmad Wali Raag adana S R m P nmP S S dnP mP gmRS YouTube http www.chandrakantha.com raga raag film song raga adana.shtml Film Songs in Rag Adana Literature most entries due to Citation last Moutal first Patrick title Hindust ni R ga s Index ... more details
?pflag prdtls&pr id 668&md id 4&curr 0&cat id 1&jsid &sub subcatid 39 ref Bandish Parampara ref http www.amazon.com Bandish Parampara Pandit Arvind Parikh dp B0010NX1UC ref published by Navras records ... more details
Ghulam Hassan Shaggan born 1928, Amritsar is a Pakistan i classical singer of the Gwalior Gharana . His father s name was Bhai Lal Mohammad died 1962 , who belonged to the Gwalior Kapurthala Gharana. Ghulam Hassan Shaggan, along with his father and family, moved to Pakistan in 1947 and settled in Lahore . His father Bhai Lal was appointed music supervisor at Radio Pakistan where the son started performing. This was a time of intense emotional and financial troubles which abated over a period of 12 years, as Shaggan gained recognition and started performing more frequently at Radio Pakistan, The All Pakistan Music Conference, and other events in Pakistan and abroad. Among several titles and awards, Shaggan received the Sangeet Samrat at the music conference in Calcutta in 1962, the Pride of Performance in 1988 and Sitara e Imtiaz in 2000 from the Government of Pakistan. He received countless awards and titles during his 1962 tour of India . He was conferred with the titles of Sangeet Rattan, Sangeet Alankar, Sangeet Samrat, Sindh Sangeet Mandalam and King of Music from the Sindh Sangeet Mandal in Mumbai . On the same tour he was presented with a certificate of recognition by sarod maestro Hafiz Ali Khan . In recent years, Ghulam Hassan Shaggan has received recognition in Europe as an outstanding representative of the North Indian classical music tradition. His talent was first recognized and expounded by France French musicologist s Gerard Kurgijian and Martina Catella which led to performances in France, Sweden , Spain , Switzerland , Germany and the UK . Ghulam Hassan Shaggan also collaborated with the alternative trance music trance band Fun Da Mental , contributing an arrangement of his original bandish in Raag Bhopali to the band s 2001 album, There Shall be Love Shaggan Sahib currently lives in Iqbal Town , Lahore with his sons Qadir Shaggan vocalist and music director and Mazhar Shaggan rabab and mandolin player . He continues to perform in public with youthfu ... more details
Refimprove date May 2007 The tihai pronounced ti ha yi is a polyrhythmic technique used in Indian classical music often used to conclude a piece. The basic format of the tihai is 3 equal repetitions of a rhythmic or melodic pattern, usually interspersed with 2 equal rests, calculated to fall on a significant point in the tala most often the sum pronounced like some or first beat. The other most common ending point of a tihai is the beginning of the gat or bandish often several beats before the sum . Typically a tihai is used as a rhythmic cadence that marks the end of a melody or rhythmic composition creating a transition to another section of the music. Tihais can be sung or played on an instrument, both. If the phrase is sixteen beats long, the outline of a tihai might look like 4 2 4 2 4. Each 4 represents a pattern that is four beats long and each 2 represents a rest that is two beats long 4 2 4 2 4 16 . The start of the next phrase is exactly on the downbeat. Another example is a 2 5 2 5 2 in a sixteen beat phrase. Two beats of rhythm with five beats of rest between. In a 10 beat taal , such as Jhaptaal, the tihai may be structured as 6 1 6 1 6 1 this last beat falling on the sum . More complicated patterns may be formulated. For example, for the 16 beat Teentaal, a tihai of tihais may be formed. This is known as the chakradhar tihai . One structure may be implemented as 4 1 1 1 4 1 1 1 4 1 1 1 rest 4 1 1 1 4 1 1 1 4 1 1 1 rest 4 1 1 1 4 1 1 1 4 1 1 1, where the last 1 lands on the sum . In terms of a possible composition dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha S silent, rest dhatirakita takatirakita dhatirakita taktirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha dhatirakita takatirakita dhatirakita takatirakita dha dha dha S silent, rest dhatirakita takatirakita dhatirakita takatiraki ... more details
Infobox musical artist name D. V. Paluskar image caption image size background solo singer birth name Dattatreya Vishnu Paluskar alias Born May 28, 1921 Died October 25, 1955 aged 34 origin Nasik , Maharashtra , India genre Hindustani Classical Music occupation Hindustani Classical Music Hindustani Classical Vocalist years active 1935 1955 label HMV website Pandit Dattatreya Vishnu Paluskar May 28, 1921 October 25, 1955 , was a Hindustani classical vocalist . He was considered a child prodigy. Early life and background D.V. Paluskar was born in Nasik , Maharashtra to well known Hindustani musician Vishnu Digambar Paluskar . ref http www.hindu.com thehindu fr 2005 12 30 stories 2005123003200300.htm ref He was only ten years old when his father died, and was subsequently trained by Pandit Vinayakrao Patwardhan and Narayanrao Vyas Pandit Narayanrao Vyas . He was also trained by Pandit Chintamanrao Paluskar and Pandit Mirashi Buwa . Career D.V. Paluskar gave his debut performance at the Harballabh Fair Harvallabh Sangeet Sammelan in Punjab at the age of fourteen. He inherited the Gwalior gharana and the Gandharva Mahavidyalaya , but he was always open to adopting aesthetic features of other gharanas and styles. He had a very sweet and melodious voice. His alap clearly outlined the raga he sang this was followed by the bandish embellished by beautiful taan s in an effortless enchanting style. He was a master at presenting an attractive and comprehensive picture of a raga in a very short duration. He cut his first disc in 1944 and visited China as a member of the Indian cultural delegation in 1955. Besides pure classical music, he was also a great bhajan singer. He introduced the famous bhajan Payoji Maine Ram Ratan Dhan Payo to the modern generation. He is also famous for an unforgettable Jugalbandhi duet with Ustad Amir Khan in the film Baiju Bawra 1952 film Baiju Bawra . ref http www.telegraphindia.com 1060513 asp opinion story 6202180.asp ref The only other film he sa ... more details
Other persons Wajid Ali Wajid Ali Nashad 1953 2008 was a noted Pakistan i music composer. He was born in Mumbai Bombay , India . Wajid Ali was the son of eminent musician Nashad and brother of singer Ameer Ali. In 1964, Nashad s family migrated to Pakistan from Mumbai. Wajid graduated from the Government College Lahore , and went on to complete an MA as a private candidate. Wajid composed music for more than 50 films. His first film was Parasstish Released on January 14, 1977, banner N G Films, producer Nasim Ahamd, director Aziz ul Hassan, Cast Deeba, Nadeem, Waheed Murad, Mumtaz, Nanha, Khalid Salim Mota, Saqi, Munawar Saeed, Nayyar Sultana . It had the following songs Mujhe le chal, yahaan se door un Waadiyon mein, jahaan khushboo ho, jahaan naghme hon, jahaan pyaar mile , rendered by Mehnaz . Subah o shaam, tera naam, honthon pe hai , rendered by Mehnaz. Aankhon se tum jana nahin door , rendered by Ahmad Rushdi . Chhod na dena mera saath, Sathi , rendered by Mehnaz. Saathi re, beet na jaye mausam pyar ka , rendered by Rajab Ali, Mehnaz. Other films he composed for were Mummy film Mummy Bandish Haathi Mere Saathi 1993 film Haathi Mere Saathi Miss Istanbul Tarap 2006 film Tarap Zevar He also composed background music for television programmes and serials including the dramas Dasht Singer Ameer Ali Doosra Aasman Singer Ameer Ali Kanch Ke Par Singer Ameer Ali Lunda Bazar Singer Ameer Ali Hawa Pe Rakhs Singer Ameer Ali Wajid Ali Nashad died on June 6, 2008 in Lahore at the age of 55. He is survived by four sons and a daughter.His younger brother Ameer Ali sung many song and composed many songs Now he opened an Audio Studio in Lahore,He is very talented Composer. External links imdb name 1356010 Wajid A. Nashaad http dawn.com 2008 06 20 nat4.htm Musician Wajid Nashad dies DAWN.com Persondata Metadata see Wikipedia Persondata . NAME Nashad, Wajid ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH 1953 PLACE OF BIRTH DATE OF DEATH 2008 PLACE OF DEATH DEFAULTSORT Nashad, ... more details
Refimprove date January 2012 Infobox person name Satyen Bose image birth name Satyen Bose birth date Birth date 1916 1 22 birth place Purnea , Bihar , India death date Death date and age df yes 1993 6 9 1916 1 22 death place Mumbai , Maharashtra , India occupation Film Director , Screenwriter Script writer years active 1949 1987 othername spouse children website Satyen Bose 22 January 1916&mdash 9 June 1993 was a film director from India . He has directed both Bengali language Bengali and Hindi language films. Among his most notable films are Raat Aur Din , Chalti Ka Naam Gaadi , Dosti and Jagriti . Jagriti won the Filmfare Best Movie Award in 1956 and Dosti won the same award in 1964. Without any formal training in cinema Bose rose to fame with his offbeat debut film Parivartan 1949 . He remade the Bengali film in Hindi as Jagriti in 1954. ref cite web url http cfsindia.org tag satyen bose title Satyen Bose publisher Children s Film Society, India accessdate 21 Jan 2012 ref Filmography class wikitable sortable Year Title Language Notes 1949 Paribartan Bengali language Bengali Also played the role of Sisirbabu in the film 1951 Barjatri Bengali 1953 Bhore Hoye Elo Bengali 1954 Parichay Hindi language Hindi 1954 Jagriti Hindi Also wrote screenplay 1955 Rikshawala Bengali 1955 Bandish Hindi 1957 Bandi Hindi 1958 Chalti Ka Naam Gaadi Hindi 1958 Savera Hindi 1958 Sitaron Se Aage Hindi 1960 Girl Friend Hindi 1960 Masoom Hindi 1964 Daal Mein Kaala Hindi 1964 Dosti Hindi 1966 Mere Lal Hindi 1966 Aasra Hindi Also writer 1967 Raat Aur Din Hindi Also wrote screenplay 1969 Aansoo Ban Gaye Phool Hindi 1969 Wapas Hindi 1970 Jeevan Mrityu Hindi 1971 Jeevitha Samaram Malayalam language Malayalam 1972 Anokhi Pehchan Hindi 1972 Mere Bhaiya Hindi 1972 Sa Re Ga Ma Pa Hindi 1973 Jyot Jale Hindi 1977 Mastan Dada Hindi 1978 Anmol Tasveer Hindi Also writer 1979 Saanch Ko Aanch Nahin Hindi 1980 Bin Maa Ke Bachche Hindi 1980 Payal Ki Jhankaar Hindi 1982 Tumhare Bina Hindi 1983 Kaya Palat Hin ... more details
Encyclopedia
top
