Music of Bangladesh

The foundations of the mainstreams of our musical culture in the 19th and 20th centuries were already laid in the eighteenth. Narottam Thakur of Rajshahi who first evolved the organised version of the rendering of Padavali Kirtan died in 1687, when the East India Company was at war with the Mughals. Raygunakar Bharatchandra, whose many poetical compositions were rendered to music, died in 1760. Bharatchandra was the true representative of the transition of music from medieval to modern age. His contemporary Kaviranjan Ramprasad Sen (1720-1781) founded Shaktapada Sangeet school which tended to compose musical lyrics on the goddess of power. By the mid 18th century, Calcutta was already developed into a modern urban centre where art and culture was thriving. Ramnidhi Gupta, the first great innovator of modern musical developments, was born in Calcutta (1741). It was under his influence that the two reigning musical trends- shaktapada and Vaishnava Padavali were popular. By 1839, when Ramnidhi Gupta died, Bengal musical culture was almost entirely free from its medieval mores.
Bangla literature began in the form of a musical composition known as Charya which was a Prabandhageeti on song composed according to some ordained musical norms. It was a north Indian musical form. We get an account of Charya in sangeetratnakar, a noted musicological treatise by Shrangadev who lived in the 13th century. The sonnet-like length of the Charya lyric and its organised singing modes infused into Bangla songs a kind of classical discipline at the very early stage. Jaydeva, a Bengali poet of the second half of the 12th century modelled his songs on the Radha- Krishna love-lore which he compiled in a collection called 'Geetagovinda' which was regarded as the forerunner of Dhrupada. Looked at historically, the early background of the musical exer-cises in Bengal which have mostly flourished through poetry was shaped by the mystical Buddhist songs known as Charya songs and the songs of Geetagovinda composed by Jaydeva. They provided an all-India musical content for the Bangla songs to evolve. But the regional musical compositional approaches of Bengal were first accommodated by Baru Chandidas in his book of songs, Shrikrishnakirtan or the Songs on Shrikrishna. Here for the first time in the compositions of Baru Chandidas we notice the advent of some musical forms peculiar to Bengal and melodies typical to the region, the present Bangladesh. But soon the regional musical approach of Bengal is found to have been blended with the mains-tream of Hindustani or northern Indian musical modalities in the varied flourishing of Padauali Kirtan. Bengali art musical trend reached great height through this historic union between the high lyricism of Vaishnavite poetry and the musical excellences of Hin-dustani tradition. Bengal's achievement in the form of Vaishnavite songs has been regarded as one of its greatest contributions to the realm of Indian musical culture.

Music of Bangladesh

The music of Bangladesh can be broadly categorized among the following genres: Music of Bangladesh - Classical music. Bangla classical, like classical music in the rest of the Sub-continent, is based on modes, called ragas (rag, in Bangla). All traditional Bangla music was based on classical music or on its variation. Music of Bangladesh - Rabindra sangeet. Rabindra sangeet is the best-known genre of Bangla music outside Bengal.

Bangla music in ancient times was mostly linked to prayer. Due to the immense influence of Hindu mythology, most folk songs are related to some sort of praise of the gods and their creation. Songs were associated with particular groups of people, such as fishermen, cart-drivers, hermits and so on. Most songs were based on classical themes. Modernisation of Bangla music occurred at different times and most of these modernisation processes happened independently of western influence. Most notable of these changes were:

• Popularity of folk music of Sufi genres: introduction of non-Hindu notions and philosophy in music
• Works of Rabindranath Tagore: introduction of variations of classical music to music
• Works of Kazi Nazrul Islam: introduction of complicated musical composition and use of music as a revolutionary tool
• Modernisation of folk music: bringing folk music into mainstream
• Fusion work: fusion of traditional music with electronic instruments and Western work to revitalise and re-popularise Bangla music in a society increasingly overwhelmed by the West

Rabindranath Tagore, a Nobel Laureate poet, wrote thousands of songs that are cherished even today. A famous writer of Bengal whose music was very popular in Bangladesh is Kazi Nazrul Islam. Lalon Fokir is a popular Bangladeshi mystic poet, famous for his spiritual tunes. See Music of Bengal for information on music that originated in greater Bengal prior to the creation of a separate nation-state of Bangladesh in 1971.

Music of Bangladesh - Classical music 

Bangla classical, like classical music in the rest of the Sub-continent, is based on modes, called ragas (rag, in Bangla). All traditional Bangla music was based on classical music or on its variation.

Music of Bangladesh - Rabindra sangeet

Rabindra sangeet is the best-known genre of Bangla music outside Bengal. The main origin of Rabindra sangeet is the works of Nobel laureate poet, novelist and play writer, Rabindranath Tagore. (Rabindra sangeet literally means music of Rabindra).

Rabindra sangeet itself is broadly classified into few sub-genres:

• puja porjai (prayer songs)
• prem porjai (love songs) [some argue prem porjai is actually a part of puja porjai]
• bichitra porjai
• swadesh porjai (patriotic songs)
• (seasonal songs)

All categories are tied by a common theme of philosophy and love. Tagore also composed most of the songs himself. Hence, a common compositional similarity is visible. All songs are based on minor variations of Sub-continental musical modes or ragas. Rabindra sangeet forms an integral part of almost any Bengali cultural festival and is seen as one of the most important parts of Bengali cultural heritage. These songs have also been used in several movies, both in Bengali and non-Bengali cinema. The national anthems of both Bangladesh and India are Rabindra sangeets; these are "Amar Shonar Bangla" (Oh My Precious Bengal) and "Jana Gana Mana" (Ruler of the Minds of All People, written in an older form of Bangla, closer to Sanskrit, that can be readily re-interpreted in almost all Indian languages) respectively.

In Bangladesh, until recently, Rabindra sangeet has practically been synonymous with two names: Rezwana Choudhury Bonya and Sadi Mohammad.

Music of Bangladesh - Nazrul geeti

Nazrul geeti, literally meaning "music of Nazrul", are the works of Kazi Nazrul Islam, national poet of Bangladesh and active revolutionary during Indian independence movement. Unlike Rabindra sangeets mentioned above, Nazrul geetis incorporate revolutionary notions as well as more spiritual and philosophical themes. Islam used his music as a major way of disseminating his revolutionary notions, mainly by the use of strong words and powerful, but catchy, tunes. Among the revolutionary songs, Karar Oi Louho Kopat (Prison-doors of Steel) is best known and has been used several movies - especially those made during the pre-independence period of Bangladesh. Islam also incorporated influences from Western India. He played an active role in carrying out a fusion between Western Indian ghazals and traditional Bengali classical music. (Ghazals are poems in Urdu presented with a semi-classical tune, popular in Western India.) Nazrul geetis that do not incorporate themes of protest essentially form what is now called Bangla ghazal. The music involves variation on ragas (modes) along with complicated timing based almost entirely on vocal work and complex structure.Due to Islam's revolutionary nature and lifestyle, Nazrul geeti was not mainstream for a very long time (and possibly still is not as commercially promoted as Rabindra sangeet). Bangladeshi singer and composer, Firoza Begum, played a very big role in popularising Nazrul geeti in both Bangladesh and West Bengal. Sohorab Hossain also played a crucial role in making Nazrul geeti mainstream.

Music of Bangladesh - Folk songs

 

Bangla folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularising folk music later on.

Folk music can clearly be distinguished and classified into several sub-genres:

• Baul: Mainly inspired by Lalon Fokir and his Sufi way of living and almost exclusively performed by hermits who have adopted such (Sufi) life style
• Bhandari: Devotional music from the South (mainly Chittagong)
• Bhatiali: Music of fishermen and boatman, almost always tied by a common raga (mode), sung solo
• Bhawaiya:Song of bullock-cart drivers of the North (Rangpur)
• Gajir geet: Tradition song from the North (Rangpur)
• Gombhira: Song (originating in Chapai Nawabganj, in the North) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his grand father, discussing a topic to raise social awareness
• Hason Raja: Devotional songs written by music composer Hason Raja (from Sylhet near Assam) that was recently repopularised as popular dance music
• Jaari: song that involves musical battle between two groups
• Jatra Pala: Songs associated exclusively with plays (performed on-stage) that usually always involve historical themes presented in a very colourful way
• Kirtan: Devotional song depicting love of Hindu god Krishno and his (best-known) wife, Radha
• Pala: Songs from the haor (lake) area in Sylhet, Kishoregonj, and Netrokona usually performed on stage live by folk singers
• Kobi gaan: Poems sung with simple music usually presented on stage as a musical battle between poets
• Lalon: Best known of all folk songs and the most import sub-genre of Baul songs, almost entirely attribute to spiritual writer and composer, Lalon Fokir of Kustia (Western Bangladesh, near the border with West Bengal)
• Mursiya: Islamic songs of devotion of the Shi'ah groups based mainly on Western influences
• Shaari: Song of boatmen sung in group to match the beat of the oar movement
• Upojatiyo: Songs of the minor ethnic groups - worth noting, this is not really a classification since songs of these ethnic groups (of which there are at least 13 different groups) vary widely and have very distinct and intriguing characteristics
• Letto's song: Songs from Mymensingh (North of Dhaka) that also allegedly influenced Nazrul geeti
• Wedding songs: Sung all over Bangladesh but always tied by similar tunes and by, obviously, a common theme, marriage

Of these several groups, Baul song is best known and was further enriched by works of Lalon.

All folk songs are characterised by simple musical structure and words. Before advent of radio, stage performances of folk singers used to be possibly the only entertainment for the vast rural population of Bengal. After arrival of new communication and digital media, many of the folk songs were modernised and incorporated into modern songs (Adhunik songeet). Baul geeti has been such a huge influence in Bangladeshi music that it deserves being called a genre on its own. However, although Baul geeti can be characterised by particular nature of music and presentation, in general, the genre is actually also defined by a definite cult. In order to understand Baul geeti, it is necessary to understand its creators. Baul geeti is almost exclusively performed by Bauls (hermits) who are followers of Sufism in Bangladesh. (Note that traditionally bauls were Hindus; Sufism was started following the lifestyle of Lalon Shah.) In Bangladesh, in the early days of Bauls who claimed to be Muslims, with greater focus on love of the society and harmony with nature, baul geeti had to go through a major struggle of survival as did the Bauls themselves. Bauls were subjected to harsh teasing and isolation. However, with time, Islamists were forced by the general population to accept the Bauls and their spiritual music as part of the society. Current day Bauls in Bangladesh are Sufis and have given up claims to be Muslims. Most live simple lives on an absolute minimum, earned mainly from performing their music. Baul songs always incorporate simple words expressing songs with deeper meanings involving Creation, society, lifestyle and human emotions. The songs are performed with very little musical support to the main carrier, the vocal. Bauls, bohemian by nature and belief, leave on grand expeditions, writing and performing music on their entire trip to earn living and disseminate notion of love and spirituality.

Ektara (literally, the one-string), Dotara (literally, the two-strings), ba(n)shi (flute made from bamboo shoot)) and cymbals are used in the presentation of Baul geeti. Although, in recent days, Baul geeti has lost popularity mainly due to disruption of the lifestyle of the bauls by urbanisation and westernisation, the songs have permanently altered Bangla music, especially in the form of Lalon geeti. Baul songs were hugely promoted by Fokir Alamgeer and Feroz Shahi in Bangladesh. Lalon geeti is the work of composer and philosopher, Lalon Shah (also known as Lalon Fokir). Most of his songs are extensions of Baul geeti. However, his songs are always more philosophical in nature, involving greater thought about abstract themes.

Lalon geeti originated in Kushtia and has been popularised throughout the two Bengals (West Bengal and Bangladesh) by various artists. Among the proponents of Lalon geeti, Farida Parveen is particularly worth mentioning for her extensive work in modernising tunes.

Music of Bangladesh - Adhunik gaan

Adhunik songeet literally means "modern songs". Although, to outsiders, this may seem an extremely ambiguous way of nomenclature, it has particular motivations.

Bangla music traditionally has been classified mainly by the region of origin and the creators of the musical genre, such as Nazrul geeti, ghombhira, etc. However, this prevented the ability to classify any music that failed to fit into any of the classes. In the period just before Indian independence (Bengal, under British rule, was made a part of one massive India that does not exactly correspond to the India of current day), several new minor musical groups emerged, mainly as playback songs for movies. These songs failed to fit into any particular genre, but seemed to be tied together by common theme of "music for the masses". Most of the music tended to be mainstream, commercial, voice-based with simple words and catchy tunes that were far moved from the classical ragas (modes). Hence, a miscellaneous category, Adhunik songeet, was created, since, at that time, this music was "modern". Although over time these so-called "modern" songs have become fairly old, they continue to be called by the same name. Interestingly, this group of song has grown faster than any other, since it is, well, a miscellaneous category that can accommodate anything that fails to fit elsewhere. The common theme continues to exist. So, although the nomenclature itself might not be as insightful, the genre itself is still well-defined. Among the main contributors to Adhunik songeet were several singers from both West Bengal and Bangladesh. The list can never be completed, but some of the more prolific (and better known) ones from Bangladesh are:

Female

• Runa Laila (also immensely popular Ghazal singer in the Sub-continent)
• Shakila Jafar
• Farida Parveen
• Shahnaz Rahmatulla
• Sabina Yasmin (possibly most prolific in terms of number of songs)

Male

• Tapan Chowdhury
• Abdul Jabbar
• Andrew Kishor
• Shubir Nondi

For a very long time, Adhunik songeet played the same role that pop currently plays in the Western World. It was the easy-to-follow and simple song that was fit for people of all age and occupation. It continues to be the most important music among middle-class, white collar Bangladeshi families to this day.

Music of Bangladesh - Modern music and western influence. In the post-independence period, Adhunik songeet continued to attract large proportiones of music enthusiasts. However, with time, newer generations demanded more upbeat music. Starting late 80's, music involving political theme have started to gain popularity once again, in a similar fashion to growht of Nazrul geeti had gained popularity during the revolution against the British Monarch and the War of Independence of Bangladesh.

Pop music initially started with the so-called "band music", the very name of which depicts western influence. Various pop groups and singers emerged.

The best known bands of the pop era are as follows:

• L.R.B.
• Nagor Baul
• Miles

The early contributors to pop music also included the following singers:

• Azam Khan
• Baby Naznin
• Happy Akhand
• Lucky Akhand

Worth noting pop music had a mixed history. Many singers of Adhunik music genre and from New wave of Bangladeshi folk music category also worked with pop at some points. In fact, by the very nature of pop it is hard to clearly identify singers, exclusively pop in style.

Bangla rock was started by Azam Khan, Miles and LRB. Hassan (associated with Ark) and James (associated with Feelings and, later, Nogor Baul) contributed quite a bit (although more so to pop/rock than to metal/rock). However, hard core rock did not begin until arrival of bands like Aurthohin and Warfaze.

Current day rock and metal bands have progressed a long way from the initiators of the genre in Bangladesh. With latest technology and equipments at their disposal, many of the new rock musicians have achieved miracles at detracting attention from foreign bands. Some of the best known new bands are:

• Rockstrata
• Warfaze
• Souls
• Feelings
• LRB (old one)
• Chime
• In Dhaka
• Feedback
• Bangla
• Shironamhin
• Artcell
• Black
• Cryptic Fate
• Aurthohin
• Poizon Green

Fakir Alamgir, Feroz Shahi, Momtaz, Kangalini Sufiya and Kuddus Boyati set notions of revitalising Bangladeshi folk music. Their immense popularity showed that despite Western influence, Bangladeshis still thoroughly enjoyed their own music. While Bangla rock music was approaching the peak of its success, several musicians and music enthusiastts felt the need to revitalise traditional music. Inspired by the previous work done by those mentioned above, several new bands and singers emerged with the notion of creating true Bangladeshi pop music, inspired by traditional compositional structure. Also worth mentioning is the project of non-resident Bangladeshi sound engineer, Habib, who has been actively working on modernising Hason Raja's songs as dance and party music. Recently, another experienced Bangladeshi musician, Arif - residing in Australia, starts with some projects based on Bangladeshi Music.

The styles of music are classical, folk, and modern.  The best known forms of folk music are Bhatiali, Baul, Marthti, Murshidi, and Bhawaiya.  The most popular is Baul.  Some classical composers are Ustad Alauddin Khan and Ustad Ayet Ali Khan, who are both internationally known.  Modern music is also practiced widely.  Contemporary patterns are most in the west, and pop songs and band groups are coming up mainly in Dhaka City.  From ancient times, music in Bangladesh has served the purpose of documenting the lives of the people and was widely patronized by the rulers. Since the 20th century, music in Bangladesh has been increasingly influenced by western popular music. The three main categories of Bangladeshi music are Classical, folk and Western-influenced pop.

Classical

 

Bangladeshi classical music is based on modes called ragas (rag, in Bengali). All traditional Bengali music tend to be based on various variations of Hindustani Classical Music. Rabindra sangeet (based on the work of the Bengali poet Rabindranath Tagore) is one of the best-known genres of Bengali music outside Bangladesh.

Folk

Bengali folk has become an important musical influences in the lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja, Ramesh Shill and Abbas Uddin. All folk songs are characterised by simple musical structure and words. Before the advent of radio, entertainment in the rural areas relied to a large extent on stage performances by folk singers. After the arrival of new communication and digital media, many folk songs were modernised and incorporated into modern songs (Adhunik songeet).

Folk music can be classified into several sub-genres:

• Baul: mainly inspired by Lalon Fokir and almost exclusively performed by hermits
• Bhandari: devotional music from the South (mainly Chittagong)
• Bhatiali: music of fishermen and boatman, almost always tied by a common raga (mode), sung solo
• Bhawaiya: song of bullock-cart drivers of the North (Rangpur)
• Gombhira: song (originating in Chapai Nawabganj, in the Northwest) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his grand father, discussing a topic to raise social awareness
• Hason Raja: devotional songs written by music composer Hason Raja (from Sylhet, northeastern side of Bangladesh near Assam) that was recently repopularised as dance music
• Jaari: songs involving musical battle between two groups
• Jatra Pala: songs associated exclusively with plays (performed on-stage). Usually involves colourful presentations of historical themes.
• Kirtan: devotional song depicting love of Hindu god Krishno and his (best-known) wife, Radha
• Kavigan: poems sung with simple music usually presented on stage as a musical battle between poets
• Lalon: best known of all folk songs and the most import sub-genre of Baul songs, almost entirely attributed to spiritual writer and composer, Lalon Fokir of Kushtia. He is known to all in wast Bengal of India too.(Western Bangladesh, near the border with West Bengal)

Baul

 

The origin of Bauls is not known exactly, but the word "Baul" has appeared in Bengali texts as old as the 15th century. The word is found in the Chaitanya Bhagavata of Vrindavana Dasa Thakura as well as in the Chaitanya Charitamrita of Krishnadasa Kaviraja. Some scholars maintain that it is not clear when the word took its sectarian significance, as opposed to being a synonym for the word madcap, agitated. The beginning of the Baul movement was attributed to Birbhadra, the son of the Vaishnavite saint Nityananda, or alternatively to the 8th century Persian minstrels called Ba'al. Bauls are a part of the culture of rural Bengal. Whatever their origin, Baul thought has mixed elements of Tantra, Sufi Islam, Vaishnavism and Buddhism. They are thought to have been influenced by the Hindu tantric sect of the Kartabhajas, as well as Tantric Vaishnava schools like the Vaishnava-Sahajiya. Some scholars find traces of these thoughts in the ancient practices of Yoga as well as the Charyapadas, which are Buddhist hymns that are the first known example of written Bengali. The Bauls themselves attribute their lack of historical records to their reluctance to leave traces behind. Dr. Jeanne Openshaw writes that the music of the Bauls appears to have been passed down entirely in oral form until the end of the 19th century, when it was first transcribed by outside observers.

The Bauls were recorded as a major sect as early as mid 18th century. Regarding the origins of the sect, one recent theory suggests that Bauls are descendants of a branch of Sufism called ba'al. Votaries of this sect of Sufism in Iran, dating back to the 8th-9th centuries, were fond of music and participated in secret devotional practices. They used to roam about the desert singing. Like other Sufis, they also entered the South Asian subcontinent and spread out in various directions. It is also suggested that the term derives from the Sanskrit words vatul (mad, devoid of senses) and vyakul (wild, bewildered) which Bauls are often considered.

Like the ba'al who rejects family life and all ties and roams the desert, singing in search of his beloved, the Baul too wanders about searching for his maner manus (the ideal being). The madness of the Baul may be compared to the frenzy or intoxication of the Sufi diwana. Like the Sufi, the Baul searches for the divine beloved and finds him housed in the human body. Bauls call the beloved sain (lord), murshid (guide), or guru (preceptor), and it is in his search that they go 'mad'. There are two classes of Bauls: ascetic Bauls who reject family life and Bauls who live with their families. Ascetic Bauls renounce family life and society and survive on alms. They have no fixed dwelling place, but move from one akhda to another. Men wear white lungis and long, white tunics; women wear white saris. They carry a jhola or shoulder bag for alms. They do not beget or rear children. They are treated as jyante mara or outcastes. Women, dedicated to the service of ascetics, are known as sevadasis (seva, service+dasi, maidservant). A male Baul can have one or more sevadasis, who are associated with him in the act of devotion. Until 1976 the district of Kushtia had 252 ascetic Bauls. In 1982-83 the number rose to 905; in 2000, they numbered about 5,000.

Those who choose family life live with their wives, children and relations in a secluded part of a village. They do not mix freely with other members of the community. Unlike ascetic Bauls, their rituals are less strict. In order to become Bauls, they recite some mystic verses and observe certain rituals. Baul is the most commonly known category of Bangladeshi folk songs. It is mostly performed by hermits who are followers of Sufism in Bangladesh. Present day Sufis earn mainly from performing their music. Baul songs incorporate simple words expressing songs with deeper meanings involving creation, society, lifestyle and human emotions. The songs are performed with very little musical support to the main carrier, the vocal.

Instruments used include the Ektara ("one-string"), Dotara ("two-strings"), ba(n)shi (country flute made from bamboo)) and cymbals. In recent times, Baul geeti has lost popularity, due to urbanisation and westernisation.

Some exponents of Baul Music

Lalon Phakir (1774-1890) is the most famous baul of all ages. the attitude of the bauls regarding caste has been nicely put by him, "what form does caste have ? I have never seen it, brother, with these eyes of mine!" Purno Chandra Das is the most widely known Baul today. Like Purno, his father, the late Naboni Das Khepa, was the best-known baul of his generation. from his early childhood, Purno travelled widely with his father, learning his songs and performing with him. at age seven he won a gold medal for his singing at a music conference at Jaipur, the pink city of India. although purno das has become widely popular as an entertainer, he is criticized both by his peers and by some of the urban elites for his lifestyle and for having transplanted baul-gan to new performance context. Another exponent of this area is Yotin Das Baul. he is originally from the Dinajpur area of North Bengal but he spends much of his time on the road, performing at various village festivals. his manner of performance is more sedate and mellifluous. that's why he is not that famous as he deserves on the basis of his repertoire and musical competence. Sonatan Das Thakur Baul, another Baul artist was born at Khulna, Bangladesh. Sanatan is particularly appreciated for his attractive dancing which, like his singing, has more conscious artistry about it than that of most bauls. he is one of the few bauls who is occasionally asked to perform on all india radio calcutta.

Adhunik

 

Adhunik sangeet literally means "modern songs". Although, to outsiders, this may seem like an ambiguous nomenclature, it has particular motivations. Bengali music traditionally has been classified mainly by the region of origin and the creators of the musical genre, such as Nazrul geeti (written and composed by Kazi Nazrul Islam), ghombhira (unique to a specific area in Bangladesh), etc. However, this prevented the ability to classify any music that failed to fit into any of the classes. In the period just before Indian independence, several new minor musical genres emerged, mainly in the form of playback songs for movies. A miscellaneous category, Adhunik sangeet, was created, since, at that time, this music was "modern".

Modern music and western influence

 

Modernisation of Bengali music occurred at different times and, for the most part, independent of western influence. Most notable of these changes were:

• Popularity of folk music of Sufi genres: introduction of philosophy and religion in music.
• Introduction of variations of classical music through the works of Rabindranath Tagore.
• Introduction of complicated musical composition and use of music as a revolutionary tool through the works of Kazi Nazrul Islam.
• Fusion of traditional music with Western instrumentation to revitalize and re-popularize Bengali music.

Rock music

Bangladeshi rock was introduced as a genre by Azam Khan,[Akhra], RockStarta, Warfaze  Miles and LRB,[Tuneless]. Bengali rock songs became particularly popular following Ark's (Tajmohol),(Janmabhumi),(Shadhinota), James (Thik ache bondhu), Miles (Prottasha), Warfaze (Obak Bhalobasha) (Alo) etc. albums. The first female rock singer of Bangladesh was the popular young teenage singer Tishma. Sands

History of Bangladesh Band Music:

Bangladesh band history starts from 1960. The first band of Bangladesh is called Bangladesh. The founder of the band is Mr.Rumi Omer. He was an ex football player. Then many bands formed. It is hard to know some bands succeed and others fall short. It was a handful of self-taught musicians that got together to create original sounds and jump-started the rock scene like never before. Their efforts resulted in the birth of the ‘Bangla Rock Scene’. Among the pioneering groups in the late ‘60s were iconic bands like Windy Side of Care(Rafique Mazhar Islam Saju and Rafi Omar) (Ex-Iolites), The Lightnings, Rambling Stones, Ugly Phases and Insex Dui, they eventually became the veterans of band music. They didn’t have the privilege of expensive instruments or sound systems, which the present rockers now take for granted.

In 1963, Zinga was the first Orchestra Band in Bangladesh formed in Chittagong by a young group student of Chittagong College. Zinga brought a new flavour in Bangla Music. They started playing popular Tagore songs, Nazrul songs and hit movie songs in western Orchestra style. Zinga is the first band who used western instruments of Drums, Guitar, and Piano. Within a short time, Zinga got the popularity; also they had to face criticism from the conservative people. But Shafat (Band Leader & Vocal) believed that criticism should be taken positively and novelty never goes without criticism.

Shafat’s two teenage sisters Najma & Shehla Parveen joined the band in 1964. Both Najma & Shehla not only had outstanding vocals but were also skilled of playing Piano, Bongo and Drums. It is noted that they were well-trained by Shafat himself. Najma & Shehla immediate published several hit songs: Fule Fule Dhaka, Duti Mon, Shagor Tire and Najma’s evergreen hit song Tomari Jibone.

Azam Khan(Uchharon)The Legend, The Imaginative Composer, he inspired musician and lanky bearded lyricist ignited something that caught the attention of plenty of listeners. He was the hero of the 70’s making his music speak the universal language of bringing one’s inner feelings to life with tunes. He is called the Pioneer of Bangladeshi rock music. The Akhand Brothers(Lucky and Happy) created the hype in the music industry with their straight-down-the-line magnetic songs around early and late 70’s. Happy Akhand’s Abar Alo Elo Je Shondha is a milestone and probably is one of the famous songs ever produced. His premature death was a big blow to all the musicians who were influenced by Happy’s passion for music and had now lost a pioneering figure of Bangla pop music. His contemporaries include great icons such as late Firoze Shahi, Ferdaus Wahid and Fakir Alamgir. Firoze Shahi was the traditional mystic Sufi singer, Ek Seconder Ni Vorosha, Fakir Alamgir used to folk song, O Sokhina Gesos Kina Vuila Amare. Ferdaus Wahid was the most dazzling of the quartet. With his funky printed shirts, bell bottom trousers and large sunglasses, he brought in a disco element to his songs.

In the old bands there are many bands that are still going very strong. There is Souls(1970), Feedback(1976), Miles(1978), Renaissance, LRB, Feelings later Nagar Baul(the City Bird), Waves and many other bands who were very well since they started. Miles and Waves were more underground. Souls was perking up to be a mainstreamer and soon got themselves a record deal. In 1980, they released their debut album Super Souls, which was one of the first albums to be released by a music group in Bangladesh. Not only they were popular for over a decade, but also served to launch popular artists like Ayub Bachchu(who created LRB)and solo pop performers Tapan Chowdhury and Kumar Bishwajit .

Feedback absolutely ruled the `80s era with their album Ullash and Mela. Everywhere one would hear Maqsoodul Haq`s immortal refrain: ``Bashonti rong shari pore lolonara hete jay``. It was from mid `80s to early `90s that hard rock started getting immensely popular. With the likes of Miles, LRB(1991), Feelings and Ark, the definition of rock became more versatile to the listeners. While Feelings were fusing rock, Feedback, Miles, LRB, and Ark were more into mainstream pop/rock. The release of Feedback, Miles, LRB gave tremendous hit albums wowing the audiences. Sumon of Aurthohin best describes the era of metal music: ``It was around 1986 when Miles presenting hard rock in Dhaka. One fine day my elder brother came home and announced that there was a band, which was performing songs of Iron Maiden. It was very difficult to believe. But then I witnessed it myself in the next concert. It was mind blowing to see them covering several numbers of Iron Maiden and they did very well indeed! The band was called Rock Strata followed by another big gun Warfaze(1984). Different Touch were a popular in the late `80s and early `90s with their melodic tunes with several hit songs like `Sraboner Meghgulo`. Nova(1986) is a Hard Rock, Soft Rock Band. Nova released seven albums till now.

The early `90s proved to be a blast for the heavy metal scene. ``Mixed album Hooray was back then a huge inspiration and boost for many celebrated bands from today``. Remarked Shakib of Cryptic Fate, followed by mega hit albums of Warfaze and Rock Strata. Around that time there were whispers of another band doing heavy melody – influenced rock songs that had that larger than life sound, later resulting into two consecutive hit albums. Winning was the name on everyone`s lips as long as their music was alive. Unfortunately the band broke up. Micro, Monitor and Digital bands were also popular at this time.

in 1993 , Sumon leaving Warfaze, along with Piklu from Rocksrtata(after the band broke up) and Jolly Roger(Band) tagged along to start the same journey under a new name Aurthohin(1993). The band finally met its heart and soul. From 1993, we heard of the rise of metal bands such as Cryptic Fate, Maestria, Dethrowa and PsychoDeth. These bands used to perform great underground shows. Shironamhin(1996) still now a popular band. Around 1998 that Koprophilia, Clovermind and Spanking Monkeys from the alternative side came into existence. Suddenly most of the bands broke up again. Only Cryptic Fate survived! Around 1999, some bands came in the music scenario. Artcell(ex-Tantrik), Metal Maze, Migraine, Black, Wire, Nemesis with some more bands surfacing.

Now Bangladesh has huge numbers of bands. There are new bands coming up and some bands are very popular amongst the youngsters of our country. They are Prometheous, Dolchhut, Obscure, Chime, Beduin, Bortoman, Dour, Dreek, Eclipse, Mechanix, Pentagon, Powersurge, Durbin, Arbovirus, Aashor, Breach, DNA, Fulbanu`s Revenge, Kral, Kronic, Triloy, Reborn, Stentorian, Shunno, yaatri, Bangla, and many more. The quality and variation in band music of Bangladesh is exploring.

Some Bangladeshi male singers

• Abdul Jabbar
• Fakir Alamgir
• Fuad al Muqtadir
• Shayan Chowdhury Arnob
• Asif Akbar
• Fazlur Rahman Babu
• Nolok Babu
• Sanjeeb Choudhury
• Tapan Chowdhury
• Shuvro Dev
• Sohrab Hossain
• Haider Hussain
• Khan Ataur Rahman
• Azam Khan (singer)
• Andrew Kishore
• Abdul Latif (songwriter)
• Altaf Mahmud
• Bappa Mazumder
• MC Shaq
• Muhin
• Kalim Sharafi
• Sunjay
• Ferdous Wahid
• Arfin Rumey  
• Arnob    
• Artcell      
• Aurthohin     
• Ayub Bachchu  
• Azam Khan     
• Balam    
• Bappa Mazumder
• Fuad
• Habib       
• Tahsan  
• Topu
• Tousif 

Some Bangladeshi female singers

    * Salma Akhter
    * Anusheh Anadil
    * Momtaz Begum
    * Gouri Choudhury
    * Rezwana Choudhury Bannya
    * Samina Chowdhury
    * Firoza Begum (singer)
    * Mila Islam
    * Dilshad Nahar Kona
    * Runa Laila
    * Sadya Afreen Mallick
    * Tasbiha Binte Shahid Mila
    * Pilu Momtaz
    * Rowshanara Moni
    * Fahmida Nabi
    * Farida Parveen
    * Ferdausi Rahman
    * Lucy Rahman
    * Shahnaz Rahmatullah
    * Tishma
    * Fauzia Yasmin
    * Nilufar Yasmin
    * Sabina Yasmin
    * Shimul Yousuf
    * Shakila Zafar
    * Shimul Zaman

Bangladeshi Singer 

Adhunik

• Abeda Sultana: contemporary
• Abdul Jabbar: playback singer for movies in 1960s and 1970s & artist of the Shadhin Bangla Betar Kendro
• Andrew Kishor: playback singer for movies for three decades
• Fatema-tuz-zohura: respected singer for three decades
• Zinga Goshty - one of the earliest bands (1970s) in Dhaka (which originated from Chittagong)
• Rebecca Sultana: contemporary
• Runa Laila: Ghazal singer and playback singer in 1980s
• Sabina Yasmin: playback singer for four decades
• Ferdous Ara: Famous Singer of "Adhunik" songs
• Asif Iqbal Sunbeam: Revolutionary remix artist for the album chumki(first ever bangla digital remix album), also have solo career from 1990s
• Mila : introduced new rock and pop styles in Bangladesh, modern bangla, teenage heart throb of pop music.
• Tapan Chowdhury: went solo after beginning career in Souls.
• Uma Islam: playback singer in 1970s and 1980s & artist of the Shadhin Bangla Betar Kendro.
• M. Thakur From the band Zeathers (1989), solo singer, living in New York
• Shakila Zafar
• Asif Akbar recording artist/playback singer

Classical

• Begum Akhtar: (deceased)
• Sangeetacharya Tarapada Chakraborty: (deceased)

Nazrul Sangeet (Kazi Nazrul Islam- National Poet of Bangladesh)

• Angur Bala: deceased
• Arjumand Banu: deceased
• Dalia Nausheen
• Suzana ansar
• Firoza Begum: popular in the 1960s, carried out lot of experimental composition work in an attempt to popularise Nazrul geeti
• Ferdous Ara: (Leading Singer, Teacher and Researcher of Nazrul Sangeet, Teaching Nazrul Sangeet at DU, Govt. Music College, Nazrul Institute. Running an Institution of Music named "SURSHAPTAK")
• Leena Taposhi Khan (Singer & Nazrrul Reaserser, playing leading role to popularising Nazrul Song )
• Khairul Anam: contemporary
• Khaled Hossain
• Shamsi Faruque Shimki
• Laila Arjumand Banu: deceased
• Sadya Afreen Mallick
• Shabnam Mushtari
• Shaheen mahmud Samad
• Sohorab Hossain: played key-role in popularising Nazrul geeti
• Nilufer Yasmin: deceased
• Sudhin Das
• Neelima Das
• Sumon Chowdhury

Folk

• Abbas Uddin: revolutionary work with folk music and its revitalisation
• Abdul Alim
• Shah Abdul Karim: from Sylhet
• Abdur Rahman Bayati: from Jessore
• Binoy Bansi Das: rhythm-specialist from Chittagong
• Bijoy Sarker: from Jessore, deceased
• Farida Parveen: unrivalled in Lalon Geeti, known for three decades, carried out huge projects on modernising and popularising Lalon geeti
• Ferdausi Rahman: immensely popular for three decades, heir to rich tradition established by her father, Abbasuddin,
• Horolal Rai: deceased
• Kanai Lal Shil: dotara player, deceased
• Kangalini Sufia: singer from Chittagong
• Khoda Box Shai: from Kustia
• Kutubul Alam: gombhira singer from Rajshahi
• Neena Hamid: contemporary
• Saydur Rahman Bayati: from Manikganj
• Rothindranath Rai
• Rowshan Bayati: from Jessore

Pop/Rock Vocalists And some Bands

• James (Faruk Mahfuz Anam) Vocalist of Nogor Baul
• In Dhaka: rock band
• Hassan: Pop rock musician.
• Azam Khan: A pioneering musician ever lived in Bangladeshi Pop culture, often referred to as the "Pop Guru" of Bangladesh.
• Habib Wahid: Singer-songwriter and record producer.
• Tishma : singer-songwriter and first female music producer of Bangladesh, she also changed and revolutionised the entire performance and style for female singers in Bangladesh, teenage heart throb of pop music. Introduced new rock and pop styles in Bangladesh too.
• Arnob: Singer-songwriter and record producer.
• Upol Islam: Singer-songwriter and record producer.
• Happy Akhand: survived by his brother Lucky Akhand, after his untimely death in 80s.
• Jewel: deceased
• Lucky Akhand: legendary pop singer who carried on the work of brother Happy Akhand
• Souls: emerged in late 70s in Chittagong, gained popularity over more than a decade, served to launch Ayub Bacchu (vocalist of L.R.B) and Tapan Chowdhuri, been less visible in the 90s
• Tapan Chowdhury: went solo after beginning career in Souls
• Warfaze: emerged in mid-eighties as hard-rock band and initiated rock era of Bangladesh
• Dark : One of the new successful Rock Band.
• Nemesis: Hugely popular alt-rock band, currently recording their 2nd album.
• Blunderware: An Alternative-rock band from Dhaka/Chittagong. Mixing their personality & humor to their style of music they call B.A.R.F (Blues. Alternative. Rock. Funk)(www.facebook.com/blunderware). Currently working on their self-titled 1st album.
• My 31st Demerit: A New-Age Rock band from Chittagong.
• Effigy: An Alternative Rock band from Chittagong.
• Urban Fictions : One of the new successful Progressive Rock Band.
• Powersurge: One of the newcoming successful Heavy metal bands.
• GrooveTrap: Famous Funk band, currently recording their second album.
• Aks: Music Composer and DJ.
• Pritom Ahmed: Bengali singer, songwriter, music composer & poet.

Rabindra sangeet

• Abid: the youngest artist in tagore song
• Atiqul Islam: deceased
• Fahmeeda Khatun
• Iffat Ara Dewan: contemporary
• Kalim Sharafi
• Milia Ali: contemporary
• Mita Huque
• Papia Sarwar: contemporary
• Rezwana Chowdhury Banya
• Sadi Mohammad Takiullah
• Chanchal Khan: contemporary/living abroad (www.chanchalkhan.com)
• Iqbal Ahmed: living abroad
• Sirajus Salekin: contemporary/living abroad (Sydney, Australia)
• Lily Islam: contemporary
• Sanjeeda Khatun: contemporary, better known as a specialist in Rabindra sangeet and as the founder of Dhaka's popular music school, Chhayanot
• Zahidur Rahim: deceased
• Kaderi Kibria: living abroad (USA)

Hip Hop

    * Stoic Bliss
    * Deshi MCs
    * Uptown Lokolz
    * Lal Miah
    * LIQUIDSILVA
    * Rap HooD GOONstaZ Rap HooD GangstaZ In Past
    * Lyrical Assassins
    * Sinister
    * D-Briggaz
    * T.O.R
    * T.O.D
    * Cosmics
    * Impact