Bangladesh History & Culture

1. Shanto-Mariam University of Creative Technology
Course Code: BHC 1101
Course Name: Bangladesh History & Culture
Assignment
Topic: Folk Music Of Bangladesh
Submitted to:
Dr.Jobayar Mohamed Faruk
Assistant Professor,
Shanto-Mariam University of Creative Technology
Submitted by:
Md. Ariful Islam
ID # 171011031
Batch: 29th
Group: A
2nd
Semester
Foundation in Art and Design
Date of Submission: 16th
August, 2017

2. ACKNOWLEDGEMENT
At first, I want to thank Allah for giving me a chance to be a student
of Dr.Jobayar Mohamed Faruk. He is our BHC teacher and course
tuitor. He is my first BHC teacher in my life. I learn from her lots of
things. He is very friendly and helpful. He always tries to help us and
care about us like our father. I wouldn’t prepare my assignment
without the help of Dr.Jobayar Mohamed Faruk sir. His gratefulness
does not fulfillment by giving her a thank. I always be thankful to her.

3. Folk Music In BANGLADESH:
What is Folk Music:
Folk music includes both traditional music and the genre that evolved from it
during the 20th-century folk revival. The term originated in the 19th century,
but is often applied to music older than that. Some types of folk music are also
called world music.Traditional folk music has been defined in several ways: as
music transmitted orally, music with unknown composers, or music performed
by custom over a long period of time. It has been contrasted with commercial
and classical styles.
Starting in the mid-20th century, a new form of popular folk music evolved
from traditional folk music. This process and period is called the (second) folk
revival and reached a zenith in the 1960s. This form of music is sometimes
called contemporary folk music or folk revival music to distinguish it from
earlier folk forms.[1]
Smaller, similar revivals have occurred elsewhere in the
world at other times, but the term folk music has typically not been applied to
the new music created during those revivals. This type of folk music also
includes fusion genres such as folk rock, folk metal, electric folk, and others.
While contemporary folk music is a genre generally distinct from traditional
folk music, in English it shares the same name, and it often shares the same
performers and venues as traditional folk music.
Folk music is any style of music which represents a community and can be sung
or played by people who may or may not be trained musicians, using the
instruments available to them.

4. As times have changed, folk music has progressed to reflect the times. Many of
the old labor and protest songs are still sung today, albeit with new verses that
were added to reflect the context in which the songs were resurrected.
AMERICAN FOLK MUSIC
Traditionally sung and played within communities, that is, not created or
produced for popular consumption, American folk music became embedded in
mainstream tradition, creating some combination of folk and pop music, during
the mid-20th Century "folk music revival." Thanks to radio and recorded music,
artists and fans in New York could develop an interest in the music indigenous
to the Gulf states. People in Seattle could discover the fiddle tunes and dance
numbers from the folk music tradition of lower Appalachia.
Traditional American folk music started to blend with mainstream recorded pop
music, as the Baby Boomers came of age all at once, many of them listening to
Harry Smith's Anthology of American Folk Music. The music of the folk
revival was narrative pop music with a social conscience. Since then,
community-driven musical forms (punk rock, hip-hop) have evolved from this
combination of folk and pop music.
Now, in the 21st century, American folk music has strong influences from all of
these musical movements.
THE STYLE OF FOLK MUSIC
Outside of musicology, "folk music" is more frequently used to describe a style
of music that has evolved rapidly over the last century. You'll hear critics and
fans alike referring to an artist as "folky," and generally that doesn't mean
they’re borrowing a melody from a traditional source.
Instead, that term is given to songs that are played using instruments not
typically seen in a rock or pop band. Whether or not the song they've written on
their acoustic instrument will survive across generations until it's so
commonplace doesn't seem to matter with many modern critics and fans — it
has still found its way into the "folk vernacular." Debating if this dilutes the
tradition of folk music is a frequent conversation among critics, musicologists
and fans alike.
For the purposes here, "folk music" refers to music derived from or influenced
by traditional American music, whether it's a contemporary mainstream band
putting to use the clawhammer banjo style, or a throwback troupe playing jug
band songs in exactly the same way as they were originally intended. Music
which keeps the folk tradition in mind is constantly building on that tradition
and keeping it alive. As long as that music is made primarily for the sake of
giving voice to a particular community it is contributing to the ongoing tradition
of American folk music.

5. Since folk music is most adequately defined by the people who create it, it's
important not to ignore that qualifiers like "folk singer" or "folky" have come to
mean something different than they did 50 years ago.
Folk artists today are experimentalists who dabble in different genres,
integrating various musical influences into their narrative songs.
Folk Music songs and music of a community, uninfluenced by any
sophisticated musical rules or any standard MUSIC styles. Bangladesh has a rich
folk music which includes both religious and secular songs.
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 expression
uninfluenced by the rules 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. 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.
Folk music has the following characteristics: (i) It is composed by rural folk on
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; (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

6. simple and natural rhythms; (xii) It contains a strong emotive expression of
human love and separation.
Folk Music In BANGLADESH:
In Bangladesh folk music has a 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 BHATI
YALI forms and important genre of folk music. 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
northernBHAWAIYA, the eastern Bhatiyali and the southwestern Baul songs.
The culture and the lifestyle of the different tribes have also influenced folk
music. Tribes like the Santal, Garo, Hajong, Chakma, Manipuri, 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.

7. Folk songs may be sung individually or in chorus. Folk songs sung individually
include Baul, Bhatiyali, MURSHIDI, Marfati, while songs sung in chorus
include KAVIGAN, LETO, ALKAP and GAMBHIRA. Some songs are regional in
character, but others are common to both Bangladesh and WEST BENGAL.
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 Vrata gan and MEYELI GIT, but both men and
women participate in the 'roof-beating' songs that are sung while beating down
and firming rooftops.
Different folk songs belong to different regions of Bangladesh and West Bengal
are listed Like: Baul and spiritual songs- Birbhum and Kushtia; Jarigan- Dhaka,
Mymensingh, Sylhet, Faridpur, Murshidabad; Bhawaiya- Cooch Bihar,
Rajshahi, Dinajpur, Rangpur, Pabna; Gambhira- Rajshahi, Maldah;' Gajan-'
West Bengal; Nil Puja-' Bangladesh; Wedding songs-' all regions; Roof-beating
songs-' the northern regions of Bangladesh, Birbhum and Bankura in West
Bengal; Sari-' the lower marshy regions of Sylhet and Mymensingh; Bhatiyali-
nearly all regions of Bangladesh, the regions of Tripura and Shilchar; Pastoral
songs- Dhaka, Mymensingh, Faridpur, Sylhet, Habiganj; Vratagan and Meyeli
Git- both Bengals; Bhadu Gan- Bankura, Purulia, southern Birbhum and
western Burdwan.
Folk music has a basic style of composition and can be classified into four
groups: First, tunes consisting of 'Sa Ra Ma Pa', secondly, 'Sa Ga Ma Pa',
thirdly, 'Sa Ra Ga Pa', and fourthly, 'Sa Ra Ga Ma Pa'. Folk music strictly
follows this pattern which is followed only in classical music. Suresh Chandra
Chakraborty has observed two aspects of folk songs such as: (i) lyric songs such
as Bhatiyali, Baul etc, and (ii) songs like Bhater Gan which cannot even be
properly termed as poetry. All folk songs in the world usually involve the

8. pentatonic scale, which is found in Bangla folk songs as well as in Santal and
Garo-Hajang songs.
The folk music of Bangladesh is different from other music not only because of
its distinctive mode but also because of the richness of its seventh note. Apart
from its tunes, Bangla folk music is also distinct in its rhythm. Many of
the RAGAS in the classical tradition like Abher, Saveri, Malavi, Kanadi, Pahadi,
Madh and Vabgal have been named after folk music. Classical ragas like
Jhinjhit, Desh, Bhairavi, Bhupali, Vibhas etc resemble Bhatiyali which involves
the use of a tune belonging to classical tunes such as Khamvaj and Pilu. Quite
often it is similar to classical ragas like Bhimpalashri and Patadip. With regard
to its style, Bhatiyali comes close to the classical tunes of Khamvaj and Kafi.
The traces of Khamvaj or Pilu are also found in the Jhumur. Baul songs
resemble the musical ragas of Vehag, Khamvaj, Bhairavi, Vilaval etc. In some
folk songs both Bhimpalasri and Khamvaj ragas may be noticed. Two modes of
Jhinjhit have been recognized. The first goes only up to the seventh pitch of
Dhaivat in classical music. In the second the scale is as follows: Sa Ra Ma/ Pa
Ma Ga Ra Sa Na Dha Pa/ Pa Dha Sa Ra Ga Ma Ga/ Dha Sa. In folk music
Jhinjhit varies slightly: Sa Ra Ma/ Pa Ma Ga Ra Sa Na Dha/ Dha Sa Sa Ra Ga,
Ra Ga Ma.
It should be remembered that in most folk songs the tune of the constant stave
and the middle staves is nearly identical. For example, the first few lines of a
famous song composed by Gagan Harkara, ami kothay pabo tare/ Amar maner
manus ye re (Where shall I find him, the man after my heartFoodgrain),
illustrates the use of seven pure notes and sometimes the use of soft melody.
The tune mostly used in the Bhatiyali, called Kashauli Jhinjhit, is as follows: Sa
Ra Ma, Pa Ma Ga Dha Sa Na Dha, Dha Sa Sa Ra Ga, Ra Ga Sa.
An analysis of folk songs shows a variety of rhythms and tempo. Sari and
Jhumur are sung at a quick tempo, and Bhatiyali and Bhawaiya at a delayed
tempo
Musical Instruments
Musical instruments produce melodic sounds and may accompany vocal music.
In the Indian subcontinent, archaeological excavations and ancient texts reveal a
highly developed musical culture. The use of the banshee or venu, vina and
mrdabga was known to the Indus-Valley Civilisation. Apart from the vina, the
Vedas refer to other instruments such as the dundubhi and bhumi-dundubhi.
Some typical musical instruments

9. a. Bow; b. Turner; c. Sarangi; d. Surshringer
e. Esraj; f. Bow; g. Surbahar; h. Vina
i. Shahanai; j. Flute; k. Sarod; l. Striker; m. Tanpura

10. n. Sitar; o. Rabab; p. Violin; q. Bow
r. Tabla-bayan; s. Harmonium; t. Pakhwaj; u. Khol
v. Surmandal; w. Santoor; x. Strikers; y. Khanjani
Traditionally, musical instruments in Bengal are categorised into four types,
based partly on the material of which they are made and partly in the manner in
which they are played. Thus they may be classified as string, wind, metal and
hide instruments. Instruments like the sitar, sarod, esraj, surbahar, tanpura, DIL
Ruba and vina that produce MUSIC through strings are known as string
instruments. Instruments like the flute and sanai that are played by blowing are
called wind instruments. Metal instruments such as Mandira and Kartal produce
sounds through striking the metal body of the instrument. Percussion
instruments such as tabla-banya, dhol, kohl, madal, etc are known as hide
instruments because of the use of animal skin in making these instruments.
All instruments belong to two categories: Sva yang Siddha (self-sufficient), that
is, instruments like the sitar, sarod, etc that can be played by themselves; and
Anu-gata Siddha (dependent), such as the tanpura, mrdanga, etc which are not
played by themselves but are played as accompaniments to either vocal or

11. instrumental music. String and wind instruments can be played by themselves
and can also accompany vocal music. But metal and hide instruments generally
are not played by themselves. They are used to accompany vocal music, their
function being to maintain the scale and rhythm. String and hide instruments are
closely connected with one another in vocal music.
String instruments are of two kinds: abgulitra (anguli, finger) instruments,
which are played with a mizrab, a thimble-like device worn on the finger, or
guti or jawa (plectrum), and dhanustata or dhanuyantra (dhanu, bow)
instruments which are played with a bow. String instruments are numerous in
number. The length of the string used in the bow determines the tone of the
sound. The pitch is determined by the tautness or slackness of the string. When
the string is taut, the pitch is high and when the string is slackened it is low.
During his visit to Bangladesh in the fifth century, the Chinese traveller, Fa-
hsien, saw many musical instruments and called this country the land of music
and dance. Excavations at MAHASTHANGAR, MAINAMATI and PAHARPUR reveal
that music was an integral part of Buddhist culture. A good deal of information
about musical instruments is also found in the MANGALKAVYA. All four groups
of instruments were known in the medieval period. Percussion instruments
included the dundubhi, dindim, mrdanga, jaydhak, virdhak, kada, damru,
pataha, dagada, pakhwaj, dampha, suraj, bheri, anak, bheur or bheri, dadamasa,
dhak, dhol, mardal, tamak, jagajhampa, damburu, soda or maddu, dama, joda or
jodghai, chhapad, and KHANJARI. Wind instruments included the sanai, shankha,
shinga, muhari or madhukarika, upanga, karanal, vishan, turi, bhurunga, and
venu. Metal instruments included the kartal, mandira, ghanta, jhanjhar, kanshi,
virghanta, kansar, khanja, muchanga; the string group of instruments included
the rabab, saptasvara, svaramandal, rudra vina, kapilas, madhusrava, khamak,
dotara, pinak, vallaki.
Some musical instruments were invented later such as the sitar, sarod, surbahar,
esraj, SARINDA, chandrasarang, manohara, EKTARA, bansi, khatatal, kartal,
kathkartal, tabla-banya, kalija khauri, dholak, shrikhol.
String Instruments of the angulitra category include the vina, the tanpura, the
sitar, and the sarod. Each of the instruments of this group has its distinctive
sound and variety of melodies. The vina is considered to be superior to the other
musical instruments because of the richness of its sound. It is eminently suitable
for alap (vocalisation). Its sound is sweet, but does not last long and cannot be
heard from a distance. Both gut and steel strings are used in the vina. Different
kinds of vina were used in different ages: alapini (which used both cotton and
silk strings), udumvari, ekatantri, kinnari, kuvjika, kachchhapi, kumika,
ghoshavati, chitra or saptatantri, jaya, Jyaistha, tumvuru or tamvura, tritantri,
trisvari, daksini, nakul or dvitantri, nakulosthi, nadesvar, naradiya, nihshanka,
parivadini, pinaki, pon, prasarini, vallaki, vipanchi or navatantri, brahma,

12. bharat, mattakokila or ekabingshatitantri, mahati, ranjani, ravan-hantak, rudra or
rabab, shatatantri, sarod or sharadiya, shruti or dvavingshatitantri, satkarna,
saranga or sarangi, sura or surashrngar, svara and hantika.
Many of these instruments are now extinct. Some of them have assumed new
names. The mahati vina, for instance, is at present simply known as the vina.
Sweet sounds like mid-gamak-murchhana (regulated modulation of sounds
through the scale) can only be produced by the vina. The vina is the original and
basic instrument. In later stages, string instruments like the sitar, the surbahar,
the surashrngar were developed from the vina. Famous vinas of the medieval
periods are pinaki, vallaki and rudra vina. The pinaki vina was played like a
fiddle. The vallaki vina was specially famous in Bengal. The saptasvara vina
was also popular at that time. The rudra vina is no longer played these days, but
the svarodiya vina is a modified version of it. Svara vina or sura vina, which
resembles the rudra vina has a very sweet sound, but is not very common
nowadays. The dhusari or dusari, a kind of vina, was also found in Bangladesh
as was another kind of vina called dhusareka which belonged to the same group
as dhusari.
Among the vina popular in Bengal, the kapilas was very popular. It was also
known as kapilasika, kailas or adya vina. Kachchhapi vina used to be known as
the Kachhuya sitar. Saptatantri vina was similar to kachchhapi vina. The
tritantri vina was a three-stringed instrument. The surashrngar vina was created
out of three ancient instruments: the mahati vina, the kachchhapi vina and the
rudra vina. Jafar Khan and Payer Khan, who belonged to the family of the
musician Tansen (1532-1589), invented this instrument. Mayuri vina, so-called
because its resemblance to a peacock, was also known as taus. Surbahar or
surbahar vina was associated with a form of CLASSICAL MUSIC known as
dhrupadanga. Ustad Omrao Khan, a musician of Lucknow, invented this
instrument for his disciple Gholam Muhammad Khan. Jantra, another kind of
vina common in the past, was remodeled during the Mughal period. The
invention of the sitar, the name deriving from the Persian words sih and tar,
meaning three and string, an improved version of tritantri vina, is attributed to
Amir Khasru (1251-1325) and occupies a prominent place among the classical
musical instruments.
The sitar is played by plucking strings with a mizrab (an Arabic word, from
zarb, to strike) fixed to the right index finger. The three-stringed sitar has been
further modified, so that at present there are two types of sitar: the ordinary sitar
with seven strings and the tarafdar with eighteen strings. Beginners use the
seven-string sitar. In the tarafdar sitar, eleven extra strings, called taraf, are
added to provide resonance.
The meghnad is an instrument of the sitar group on which alap is played. Its
sound is grave and solemn. The meghnad is somewhat shorter than the surbahar

13. but larger than the sitar. The surachaina is another musical instrument of the
sitar group. It is similar to a large sitar, but without the taraf strings. This
instrument is also used for alap.
The tanpura, a modern form of the ancient tumburu, is quite unique in the group
of string instruments. Though it cannot be played by itself, it is an essential
accompaniment for classical, vocal and instrumental music, mainly helping to
maintain the scale.
The sarod is a popular musical instrument belonging to the angulitra group of
instruments. It is a cross between the rabab, a string instrument popular in the
north-western frontier province of Pakistan, and a DOTARA. The word sarod
appears to be derived from the Persian word sehrud.
The dhanustata or dhanujantra group of instruments includes the esraj, the
suramandal, the behala, etc. The esraj is a string instrument, also known as
ashuranjani. It is an amalgam of the sitar, the sarengi, and the sarinda. Its sound
is melodious, and it can be played by itself or used to accompany vocal music.
The tar sanai is similar to the esraj, but its sound box is fixed to the main or
nayaki string. Its sound is thin and fine. It is an accompanying instrument. The
dilruba is another instrument belonging to the esraj group. Unlike the esraj,
however, the body of the dilruba is not round, but flat. The manohara, which
also belongs to this group, has a sweet sound. Ustad AYET ALI KHAN (1884-
1967) is credited with its invention. The mandrabahar also belongs to this
group, but is larger than the esraj. Its sound is very deep and low. It is an
accompanying instrument for alap. Nadtaranga is a string instrument of the esraj
group, and is played with a bow. It is often used in an orchestra.
The suramandal is a many-stringed instrument, with the strings tuned in pairs. It
is tuned in three saptakas or octaves and is played by striking the pairs of strings
with two bamboo or wooden sticks. The suramandal can be played by itself but
it is generally used as an accompanying instrument. The santur belongs to the
suramandal group, and resembles the suramandal in appearance and in manner
of playing. Like the suramandal, the santur may be played by itself or as an
accompanying instrument. The sarangi belongs to the group of accompanying
instruments, but is also played on its own nowadays. The sarangi is used as an
accompanying instrument in vocal classical music. It is played with a half-
moon-like bow. Its sound is sweet and it is widely used
in GHAZAL, KHEYAL, TAPPA, KAWALI and THUNGRI songs. The mandranad is a
bass, accompanying instrument. The surarabab is played like the surashrngar.
Though the violin or behala (a distortion of Italian vialo) is a European
instrument, it is very popular in Bengal as well.
The bow of the svarasanggraha is similar to that of the esraj, but its body is like
that of the sarod. The svarasamhraha, invented by FAKIR AFTABUDDIN

14. KHAN (1862/69-1933), is also known as vinraj. The meghdambur, also invented
by Fakir Aftabuddin Khan, is a simple string instrument, resembling a bow. Its
sound is sweet and it is played with a small half-moon like bow.
Hide instruments These are drum-like musical instruments of varying shapes,
covered at one or both ends with stretched skin. Unlike the western drum, these
instruments are often played upon by hands and fingers rather than sticks. They
are essential in the performance of music. Hide instruments may accompany
either vocal or instrumental music. The dundubhi is an ancient hide instrument,
usually played during auspicious ceremonies and victory celebrations and at
temples. The bhumi-dundubhi is another kind of hide-instrument, played to
sound the alarm for danger or war. It is also used to announce certain festivals.
The dimdim produces a sound resembling dim dim, hence the name. The
mrdanga is a very ancient instrument and accompanies KIRTAN songs and
Manipuri Dance in Bangladesh. Its body or khol is made of clay. The srikhol is
similar to the mrdanga and is also made of clay. It is largely played during
festivals in the rural areas of Bangladesh.
Bow, Tuner, Sarangi, Surshringer, Esraj, Bow, Surbahar, Vina, Shahanai, Flute,
Sarod, Striker, Tanpura, Sitar, Rabab, Violin, Bow, Tabla-bayan, Harmonium,
Pakhwaj, Khol, Surmandal, Santoor, Strikers, Khanjani
The pakhawaj (perhaps a distortion of the Persian words meaning holy sound),
made of wood, was developed from the mridanga. Its notes are both sweet and
grave. The pakhawaj is used with the vina and the surabahar and accompanies
dhrupad-dhamar songs. The tabla and banya are a pair of percussion
instruments, traditionally believed to have been invented by Amir Khasru by
slicing the pakhawaj into two parts. The tabla and banya are always played
together, with the tabla on the right and the banya on the left. They are mainly
accompanying instruments, but are nowadays also played solo.
The dhak is an ancient instrument. It is very large, with both ends covered with
skin. It is played by striking each end with bamboo sticks. It is usually played at
auspicious ceremonies like Hindu pujas and festivals. In ancient days it was
called danka. A large dhak is known as jaydhak. The virdhak or virkali is
similar to the jaydhak in appearance and manner of playing. The pataha,
sometimes termed pada, was a popular instrument of the medieval period. The
dhol is smaller than the dhak, but similar to it with both ends covered with skin.
It is played with a stick in the right hand, and the palm of the left hand. The
Bangla dhol is larger than the ordinary dhol. The dholak is smaller than the dhol
and looks like a small barrel. The dholak may be played in an orchestra. It is
also commonly used to accompany ghazal and kawali songs.
The damru or DUGDUGI is a hide instrument used by Doms. In ancient texts it
was mentioned as the instrument of SHIVA. But nowadays it is mainly used by

15. strolling monkey-men to draw crowds. The kada is hung from the player's neck
and played upon with a pair of sticks. It was used in war and auspicious
ceremonies. The jagajhampa, made of clay, is bigger than the kada, but played
in the same manner. The naqara, also made of clay, is half-circular in shape. In
the past it was sounded on the battlefield, but at present it is used in auspicious
ceremonies. The tiqara is a hide instrument made of copper, brass, wood or clay.
It is smaller than the kada. It is played as an accompanying instrument with
sanai and naqara. The damama used to be played on battlefields along with the
tiqara in the past, but at present it is used at auspicious ceremonies. The daff or
damffa is made of wood. It looks like a sieve, with one side of the circlet
covered with skin. Small pieces of metal discs are attached to the body of the
instrument. The nal is made of wood; both its ends are covered with hide.
Metal instruments such kind of instruments have been used since ancient times.
The kansa or kansar is a small round plate, made of kansa (bell-metal). The tal,
or cymbal, is also a round brass plate and is played by striking one plate against
another. The ghanta or bell made of brass is often used at different Hindu
festivals and at auspicious ceremonies. The mandira consists of a pair of small
brass bowls. Music is made by striking one bowl against another. It helps to
keep the time or measure, tempo and rhythm. The jhanjh or jhanjhar is made of
brass. There are two types of jhanjh: medium and large. A medium jhanjh is
played by striking one jhanh against another, while a large jhanjh is played by
being struck rhythmically with a stick. The kartal, a small version of the jhanjh,
is made of brass or bell-metal. It accompanies kirtan and BHAJAN songs.
Wind instruments occupied an important place in music. There are different
types of wind instruments, each with its own characteristics. The shankha
(conch) is an old wind instrument made from large conch shells and is played
by blowing. It is used in Hindu ceremonies. Singa or Shrnga (literally horn) is a
horn-shaped wind instrument. In the past it was made from buffalo horn, but
nowadays it is made of brass or other metals. The ranashinga (literally battle-
horn) looks like a very large English S. Its name is associated with its use
during battle in ancient times. The bheri is a wind instrument made of brass and,
like the ramshinga, was blown on the battle-field.
The bansi or flute is very ancient wind instrument made of bamboo. There are
different types of flutes, such as the saral bansi, ad bansi or murali, tipra bansi
or venu and laya bansi. Sanai belongs to the flute group. In shape it closely
resembles the Dhutura (thorn-apple) flower. Generally the sanai is not played
alone. While one sanai plays, another keeps the note sadaj (sa) without any
break. A small tiqara is used as an accompanying instrument. When these three
instruments are played by three different performers together it is called the
raushanchauki, or nahbat (kettle-drum). In the past, a nahabatkhana (place for
the kettle-drum) used to be constructed on the top of the main arch of the royal

16. palace, where the nahabat was played at three hourly intervals. The nyastaranga
is a metal wind instrument.
Jaltaranga (water music) does not fit into the above categories. It is composed
of several porcelain bowls of different sizes ranged in order from large to small.
Water is poured into the bowls. The notes are determined by the size of the
bowl and by the quantity of water in each bowl. Music is played by striking the
bowls with a pair of sticks. The jaltaranga can be played by itself, but it can also
be used as an accompanying instrument.
Folk Musical Instruments accompany folk and devotional songs
like BAUL, BHATIYALI, BHAWAIYA, marfati, MURSHIDI GAN etc. Prominent
among them are the ektara, dotara, sarinda, ANANDALAHARI, and tubri. The one-
stringed ektara (one-string) is made of the dried shell of gourds, wood-apples, or
coconuts and has only one string. It is generally used by bauls, vairagis and
fakirs as an accompanying instrument. The dotara (literally two-strings) is made
of coconut-shell and has four strings. Though it is an accompanying instrument,
it can also be played by itself. Anandalahari (Khamak), Lau (Nandin),
Gopichand and Thunthune are similar instruments. The kalija khauri is made by
hollowing out a dried gourd. It is played by plucking the string with a finger.
The sarinda is another old string instrument made of wood. It is an
accompanying instrument, but can be played solo. Its sound is very sweet. The
tubri is a flutelike wind instrument with two pipes. One pipe plays different
notes while the other plays one continuous note. The tubri is the snake charmer's
instrument. [Mobarak Hossain Khan]
Marma dholak
Tribal Musical Instruments the CHAKMA, TRIPURA, Tanchangya, MRU, Bam,
Usui, PANKHO, KHUMEE, and Lusain of greater sylhet and CHITTAGONG HILL
TRACTS have their own traditional instruments which they play during their
festivals and occasions. Some of these instruments can be played only on
certain occasions. Three musical instruments are quite popular: the dhol or tom-
tom, the flute, and the violin. The SANTALS of northern Bangladesh use musical
instruments such as tanda, tamak, danda, dhak, dhol, madal, etc to accompany
their dances. They also have a number of flute-like musical instruments: plung,

17. tu, baji, simur, shinga, and claonet. The Mro and Khumi traditionally use the
plum, which in the Mro language means flute, on both social and religious
occasions. Depending on the number of bamboo reeds, there are four types of
plum: if there are three reeds in the lower part and two in the upper, the
instrument is called tinteng plung or tulerum plung; if there are two reeds in the
lower part and two in the upper, it is called plungke; if there are two reeds in the
lower and one in the upper, it is called plungma; and if there are five reeds in
the lower and four in the upper, it is called rinaplung. The Mro and Khumi
make the plum with local material such as the shell of a bitter bottle gourd
available in the hills and of thin bamboo. Among the Mro and Khumi, the plum
is played at religious ceremonies by people praying for some boon, while the
rinaplum is played at ceremonies organised to pray for relief from some natural
calamity or epidemic. The Chakma call the flute baji, which they prepare from
bamboos of different sizes available in the hills. These flutes are often
ornamented. The traditional flutes of the Tripura are called shimur. Simur flutes
are slightly longer than ordinary flutes and have a greater number of holes. The
Tripura play this flute during Paraiya dance and on other religious occasions.
The Chakma and Tanchangya make a sort of trumpet with a four- or five-foot
long bamboo.
Marma flute
Musical instruments similar to the dhol include khaing, kha-am, bunga, peh,
ganga / darkhoyang, etc. The Usui use khaim which are two to two and a half
feet long and one foot wide. The frame is made of light gamari wood over
which the skin of a tiger or goat is stretched. The Tripura use the kha-am, which
they play during the Garaiya religious festivals and functions. The bunga of the
Marma is a small dhol that is played along with other instruments.
The darkhoyam, another dhol-like musical instrument, is played at the cow-
slaughter festival of the Mro and Khumi, at the hunting and war dances of the
Pankhos and at the religious festivals of the Chakma, Marma and Chakder
Kyang.
Marma flute

18. The kheng kharang, be-ana, dhudhuk, kri-chay, fakir dabgais, senda, chang prei
and ektara are violin-like musical instruments. The Marmas call the khem
kharam khre khreng and the Tripura call it sangmun. The Chakma, Tanchangya,
Marma and Tripura make this instrument from bamboo and play it on different
social occasions. A violin-like instrument made of bamboo and wood is popular
among the hill tribes. It is called be-ana by the Tripura, bela by the Chakma,
beyanj by the Marma, and tra by the Mro. The dhudhuk is another violin-like
instrument popular among the Chakma, Chanchangya and Tripura. The Chakma
and Chanchangya also call this instrument tutrumao, while the Tripura call it
tutu-a. The kri-chay is a violin-like instrument of the Marma. It is made of wood
and brass and has fifteen to twenty strings, which are played with two chips of
wood. The dungmang is another similar instrument. The fakir dangais is a type
of ektara used by the Tripura and Usui. It is made like an ektara, with a chord
running length-wise down the middle. Music is created by touching the chord
either manually or with a piece of wood. The senda is an unusual guitar
prepared by the Usui. It looks like a dove's nest and is prepared by hollowing
out a piece of wood of about 2/3 feet in length and one and a half feet in
breadth. Animal skin is stretched over the hollow frame and three chords are
then fastened to it. The chang prei is another traditional instrument of the Usui.
A piece of wood three feet long is hollowed out and three chords are attached to
it as in a guitar. The first chord is mainly used for creating music. Five small
wooden chips are fixed with wax at the bottom of the first chord. The Mro and
Khumi ektara is made of shells of dried bottle gourds and coconuts.
The people of different tribes have been using these musical instruments from
time immemorial. These instruments are all closely linked with their feelings
and emotions, their life-style, their economy and, above all, their philosophy
and aspirations of earthly and spiritual life. [Mobarak Hossain Khan, Wakil
Ahmed, Momen Chowdhury]
Bibliography NR Roy, Bangalir Itihas (Adi Parva), Calcutta, 1945; Rajeshwar
Mitra, Banglar Sangit (Madhy Yug), Calcutta, 1955; Jitendramohan Sengupta,
Bharatiya Badyayantra O Yantrasadhak, Calcutta, 1958; MH Khan,
Badyayantra Prasnga, Dhaka, 1992; JA Hanafi, Upajatiya Nandan Sangskrti,
Bangladesh Shilpakala Academy, Dhaka, 1993; James Hastings ed,
Encyclopeadia of Religion and Ethics, Vol. IX, London, 1953.