4. sense of ‘belonging’ to the Indian film story sense of Indian musical identity for its Indian audience
5. sense of ‘belonging’ to the Indian film story sense of Indian musical identity for its Indian audience “This foundation of Hindi film song on native music was by no means limited to folk traditions.” (Arnold, 1992; 126)
6. Influences Ancient Indian epics of Mahabharata and Ramayana Sanskrit drama Traditional folk theatre of India
7. Baiju Bawra (1952) Excerpt 1 only traditional Indian instruments are played
8. Baiju Bawra (1952) Excerpt 1 only traditional Indian instruments are played Set raga
9. Baiju Bawra (1952) Excerpt 1 only traditional Indian instruments are played Set raga Incorporation of classical Indian music into the popular music scene
11. Excerpt 2 technique is shown off by the running up and down of the raga Performers are from a Classical Indian background
12. “Many early Hindi film music composers were trained musicians…they drew heavily upon their own musical knowledge of native songs and song forms, scale patterns, rhythmic structures, vocal melodies, and vocal ornamentation.” Arnold, 1992; 124 Baiju Bawra
22. Billu Barber (2009) Excerpt 5 Traditional instruments playing - Tabla and Sitar
23. Billu Barber (2009) Excerpt 5 Traditional instruments playing - Tabla and Sitar Focus on lyrics
24. Billu Barber (2009) Excerpt 5 Traditional instruments playing - Tabla and Sitar Focus on lyrics “The fact that the film melodies were devoid of traditional associations was controversial for some, who regarded their usage as too marked a break from tradition, and as simply inappropriate.” Marcus, 1992; 103 Billu Barber
26. Summary Influences from other cultures are noticed Traditional Indian music in Bollywood is diminishing
27. Summary “While the film songs were usually devoid of traditional associations, they were not devoid of associations altogether. Quite to the contrary, they came with a brand new set of associations, for they were trendy, urban, and modern, and as such, they offered associations with modernity, and with contemporary popular culture.” Marcus, 1992; 104
