Indian song audio

Indian song audio DEFAULT

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Three Indian Songs, Op. 32

Song Collection

In 1908, Arthur Farwell composed Three Indian Songs, op. 32, based on the piano solos contained in his earlier American Indian Melodies.

Photo: Afraid of Eagle, Dakota Indian, 1898, Library of Congress Prints and Photographs Division, Digital ID: cph 3c24565

The audio recording, provided in the audio player to the right, features Thomas Hampson, baritone, and Craig Rutenberg, piano. This song was recorded for Instant Encore as part of American Public Media's Performance Today series, presented by Classical Minnesota Public Radio. You can download a recording of this entire recital for free through the Instant Encore website with the download code: THSOA2009.

Date:1908Composer:Arthur FarwellText:Arthur Farwell

Print vitals & song text

Farwell published American Indian Melodies in 1901, in his recently founded Wa-Wan Press, a publication dedicated strictly to American contemporary music. Scored for piano solo, American Indian Melodiescontains Farwell’s arrangements of ten melodies that were transcribed from the songs of the Omaha tribe and preserved in Alice C. Fletcher’s Indian Story and Song from North America (1900).

Please see the essay for “The Old Man’s Love Song” for further information.

Three Indian Songs, Op. 32

Track:

Sours: https://songofamerica.net/song/three-indian-songs-op-32/
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New Hindi Songs - Chura Liya, Bodyguard

AllHindiEnglishPunjabiTeluguTamilBhojpuriBengaliMalayalamKannadaMarathiGujaratiHaryanviUrduAssameseRajasthaniOdia

Bollywood songs have been dominating the Indian music industry for quite a long time. Bollywood songs, also known as Hindi songs, are generally featured in Bollywood films. These Hindi gane have a special place in the hearts of people across the country. They are derived from the song and dance routine of the Indian Bollywood films. Dance, combined with the beats of these hit Hindi songs, is extremely famous across the world. The Hindi songs play a major role in making the movie a blockbuster hit. If the songs appeal to the audience, then they will come to watch the movie. Most of the movies in the Indian film industry became hit because of the marvelous songs they had. One of the main characteristics of these Hindi gane is that they give the Hindi cinema an enduring popular appeal, context as well as a cultural value.    New Hindi songs come out now and then, and almost each one of them is loved by the audience. Earlier, the Indian music industry mainly focussed on producing songs that had mellow tunes and soulful lyrics. This time, known as the Golden era of Bollywood, is not just loved by the older generation but also by the millennials. But as the trends changed, the focus has shifted from producing mellow songs to songs with peppy beats. These songs are mostly loved by the millennials and are perfect to add those fun vibes to your party. Millennials hover to the internet to download the latest Hindi songs and listen to them whenever and wherever they want to. People listen to a hit song somewhere and rush to the internet to download hit Hindi songs that touched their hearts. Some of the latest Hindi songs which are a must-add in your playlist are Shiddat, Bad Boy x Bad Girl, Pyaar Ho Jayega, Rim Jhim, Kuch Karne Ka, Dil Kisi Se, Kanta Laga, Soulmate, Do Ghoont, BellBottom, and the list goes on. The recent hit Hindi songs are composed keeping in mind the needs of the audience. Although there are songs with soulful lyrics, the focus is more on tracks with dynamic and lively beats. And with its versatility, the Hindi music industry never fails to entertain its audience.      The Indian music industry is blessed with various legendary artists who changed the roadmaps of Hindi songs and made them famous across the world. Lata Mangeshkar, Mohammed Rafi, A.R. Rahman, R.D. Burman, Jagjit Singh, Kumar Sanu, Kishore Kumar, and many more. Inspired by them, many new-age singers are capturing the hearts of the audience with their extraordinary songs. Arko, Tony Kakkar, Shatak Sharma (STK), Tanishk Bagchi, Meet Bros., Sunanda Sharma, Shankar Ehsaan Loy, Millind Gaba, MixSingh, are to name a few. They have raised the bar by composing amazing songs and making the Hindi music industry well-known across the world. Download and listen to all the latest Hindi MP3 songs on Gaana.com.

Sours: https://gaana.com/newrelease/hindi
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Music of Bollywood

Songs featuring in Bollywood films

For the music genre, see Filmi.

A group of Bollywood at the Indian Singers' Rights Association (ISRA) meet in 2013. Standing (L to R) Kailash Kher, Sonu Nigam, Sowmya Raoh, Javed Ali, Shaan, Udit Narayan, Manhar Udhas, Kunal Ganjawala, Abhijeet Bhattacharya, Hariharan, Mahalaxmi Iyer, Sitting (L to R) Mohammed Aziz, Pankaj Udhas, Alka Yagnik, Sanjay Tandon, Chitra Singh, Suresh Wadkar, Mitali Singh.

Bollywood songs, more formally known as Hindi Geet or filmi songs, are songs featured in Bollywood films. Derived from the song-and-dance routines common in Indian films, Bollywood songs, along with dance, are a characteristic motif of Hindi cinema which gives it enduring popular appeal, cultural value and context.[1] Hindi film songs form a predominant component of Indian pop music, and derive their inspiration from both classical and modern sources.[1] Hindi film songs are now firmly embedded in North India's popular culture and routinely encountered in North India in marketplaces, shops, during bus and train journeys and numerous other situations.[2] Though Hindi films routinely contain many songs and some dance routines, they are not musicals in the Western theatrical sense; the music-song-dance aspect is an integral feature of the genre akin to plot, dialogue and other parameters.[1]: 2 

The first song recorded in India by Gauhar Jaan in 1902 and the first Bollywood film Alam Ara (1931) were under Saregama, India's oldest music label owned by RPSanjiv Goenka Group.[3] Linguistically, Bollywood songs tend to use vernacular Hindustani, mutually intelligible to self-identified speakers of both Hindi and Urdu, while modern Bollywood songs also increasingly incorporate elements of Hinglish.[4]Urdu poetry has had a particularly strong impact on Bollywood songs, where the lyrics draw heavily from Urdu poetry and the ghazal tradition.[5] In addition, Punjabi is also occasionally used for Bollywood songs.

The Indian music industry is largely dominated by Bollywood soundtracks, which account for nearly 80% of the country's music revenue. The industry was dominated by cassette tapes in the 1980s and 1990s, before transitioning to online streaming in the 2000s (bypassing CD and digital downloads). As of 2014, the largest Indian music record label is T-Series with up to 35% share of the Indian market, followed by Sony Music India (the largest foreign-owned label) with up to 25% share, and then Zee Music (which has a partnership with Sony).[6] As of 2017, 216 million Indians use music streaming services such as YouTube, Hungama, Gaana and Saavn.[7] As of 2021, T-Series is the most subscribed Youtube channel with over 170 million subscribers.[8]

History[edit]

Hindi film songs are present in Hindi cinema right from the first sound film Alam Ara (1931) by Ardeshir Irani which featured seven songs. This was closely followed by Shirheen Farhad (1931) by Jamshedji Framji Madan, also by Madan, which had as many as 42 song sequences strung together in the manner of an opera, and later by Indra Sabha which had as many as 69 song sequences. However, the practice subsided and subsequent films usually featured between six and ten songs in each production.[1]: 20 

Right from the advent of Indian cinema in 1931, musicals with song numbers have been a regular feature in Indian cinema.[9] In 1934 Hindi film songs began to be recorded on gramophones and later, played on radio channels, giving rise to a new form of mass entertainment in India which was responsive to popular demand.[9] Within the first few years itself, Hindi cinema had produced a variety of films which easily categorised into genres such as "historicals", "mythologicals", "devotional, "fantasy" etc. but each having songs embedded in them such that it is incorrect to classify them as "musicals".[1]

The Hindi song was such an integral features of Hindi mainstream cinema, besides other characteristics, that post-independence alternative cinema, of which the films of Satyajit Ray are an example, discarded the song and dance motif in its effort to stand apart from mainstream cinema[1]

The Hindi film song now began to make its presence felt as a predominating characteristic in the culture of the nation and began to assume roles beyond the limited purview of cinema. In multi-cultural India, as per film historian Partha Chatterjee, "the Hindi film song cut through all the language barriers in India, to engage in lively communication with the nation where more than twenty languages are spoken and ... scores of dialects exist".[10] Bollywood music has drawn its inspiration from numerous traditional sources such as Ramleela, nautanki, tamasha and Parsi theatre, as well as from the West, Pakistan, and other Indic musical subcultures.[11]

For over five decades, these songs formed the staple of popular music in South Asia and along with Hindi films, was an important cultural export to most countries around Asia and wherever the Indian diaspora had spread. The spread was galvanised by the advent of cheap plastic tape cassettes which were produced in the millions till the industry crashed in 2000.[9] Even today Hindi film songs are available on radio, on television, as live music by performers, and on media, both old and new such as cassette tapes, compact disks and DVDs and are easily available, both legally and illegally, on the internet.[1]

Style and format[edit]

The various use of languages in Bollywood songs can be complex. Most use variations of Hindi and Urdu, with some songs also including other languages such as Persian, and it is not uncommon to hear the use of English words in songs from modern Hindi movies. Besides Hindi, several other Indian languages have also been used including Braj, Avadhi, Bhojpuri, Punjabi, Bengali and Rajasthani.

In a film, music, both in itself and accompanied with dance, has been used for many purposes including "heightening a situation, accentuating a mood, commenting on theme and action, providing relief and serving as interior monologue."[11]

In a modern globalisation standpoint, Bollywood music has many non-Indian influences, especially from the West.[12] Many Hindi film music composers learned and mimicked Hollywood's style of matching music to scene atmospheres into their own film songs, the result being Bollywood music. These songs can be considered a combination of Western influences and Hindi music.[13]

Production[edit]

Songs in Bollywood movies are deliberately crafted with lyrics often written by distinguished poets or literati (often different from those who write the film script), and these lyrics are often then set to music, carefully choreographed to match the dance routine or script of the film. They are then sung by professional playback singers and lip-synched by the actors. Bollywood cinema is unique in that the majority of songs are seen to be sung by the characters themselves rather than being played in the background.[citation needed] Although protagonists sing often, villains in films do not sing because music and the arts are a sign of humanity.[14] In Western cinema, often a composer who specialises in film music is responsible for the bulk of music on the film's soundtrack, and while in some films songs may play an important part (and have direct relationship to the subject of the film), in Bollywood films, the songs often drive large-scale production numbers featuring elaborate choreography.

The key figure in Bollywood music production and composition is the music director. While in Western films, a "music director" or "music coordinator" is usually responsible for selecting existing recorded music to add to the soundtrack, typically during opening and closing credits, in Bollywood films, the "music director" often has a much broader role encompassing both composing music/songs specifically for the film and (if needed) securing additional (licensed) music. In this sense, a Bollywood music director also plays the role of a composer and music producer.

The lyricist of Bollywood songs is less likely to be the same composer or music director, as Bollywood films often go to great lengths to include lyrics of special significance and applicability to the film's plot and dialogue, and/or the words of highly regarded poets/lyricists set to music written specifically for such words in the film, as noted above.

Bollywood film songs have been described as eclectic both in instrumentation and style.[15] They often employ foreign instruments and rework existing songs, showing remarkable inventiveness in the reinvention of melodies and instrumental techniques.[16]

Bollywood film songs often tend to be accompanied by expensive music videos. Some are among the most expensive music videos of all time.[17] The most expensive Indian music video is "Party All Night" (for the 2013 film Boss), which cost ₹60 million ($1.02 million) to produce.[18] Adjusted for inflation, the most expensive Indian music video was "Pyar Kiya To Darna Kya" (for the 1960 film Mughal-e-Azam), which at the time cost more than ₹1.5 million[19] ($320,000),[20] equivalent to $3 million (₹210 million) adjusted for inflation.

Genres[edit]

Further information: Filmi

Bhajan[edit]

Main article: Filmi devotional songs

Further information: Bhajan

Dance[edit]

Main article: Hindi dance music

Hindi dance music encompasses a wide range of songs predominantly featured in the Bollywood film industry with a growing worldwide attraction. The music became popular among overseas Indians in countries such as South Africa, the United Kingdom and the United States of America and eventually developed a global fan base.[21]

Disco[edit]

In the Indian subcontinent of South Asia, disco peaked in popularity in the early 1980s, when a South Asian disco scene arose, popularised by filmi Bollywood music, at a time when disco's popularity had declined in North America. The South Asian disco scene was sparked by the success of Pakistani pop singer Nazia Hassan, working with Indian producer Biddu, with the hit Bollywood song "Aap Jaisa Koi" in 1980.[22][23][24] Biddu himself previously had success in the Western world, where he was considered a pioneer, as one of the first successful disco producers in the early 1970s, with hits such as the hugely popular "Kung Fu Fighting" (1974),[25][26][27] before the genre's Western decline at the end of the 1970s led to him shifting his focus to Asia. The success of "Aap Jaisa Koi" in 1980 was followed by Nazia Hassan's Disco Deewane, a 1981 album produced by Biddu, becoming Asia's best-selling pop album at the time.[28]

In parallel to the Euro disco scene at the time, the continued relevance of disco in South Asia and the increasing reliance on synthesizers led to experiments in electronic disco, often combined with elements of Indian music.[22] Biddu had already used electronic equipment such as synthesizers in some of his earlier disco work, including "Bionic Boogie" from Rain Forest (1976),[29] "Soul Coaxing" (1977),[30]Eastern Man and Futuristic Journey[31][32] (recorded from 1976 to 1977),[33] and "Phantasm" (1979),[34] before using synthesizers for his later work with Nazia Hassan, including "Aap Jaisa Koi" (1980), Disco Deewane (1981) and "Boom Boom" (1982).[28] Bollywood disco producers who used electronic equipment such as synthesizers include R.D. Burman, on songs such as "Dhanno Ki Aankhon Mein" (Kitaab, 1977) and "Pyaar Karne Waale" (Shaan, 1980);[28]Laxmikant–Pyarelal, on songs such as "Om Shanti Om" (Karz, 1980);[35] and Bappi Lahari, on songs such as "Ramba Ho" (Armaan, 1981).[28] They also experimented with minimalist, high-tempo, electronic disco, including Burman's "Dil Lena Khel Hai Dildar Ka" (Zamane Ko Dikhana Hai, 1981), which had a "futuristic electro feel", and Lahiri's "Yaad Aa Raha Hai" (Disco Dancer, 1982).[22]

Such experiments eventually culminated in the work of Charanjit Singh, whose 1982 record Synthesizing: Ten Ragas to a Disco Beat anticipated the sound of acidhouse music, years before the genre arose in the Chicago house scene of the late 1980s. Using the Roland TR-808drum machine, TB-303bass synthesizer, and Jupiter-8 synthesizer, Singh increased the disco tempo up to a "techno wavelength" and made the sounds more minimalistic, while pairing them with "mystical, repetitive, instrumental Indian ragas", to produce a new sound, which resembled acid house.[36][22] According to Singh: "There was lots of disco music in films back in 1982. So I thought why not do something different using disco music only. I got an idea to play all the Indian ragas and give the beat a disco beat – and turn off the tabla. And I did it. And it turned out good."[37] The first track "Raga Bhairavi" also had a synthesised voice that says "Om Namah Shivaya" through a vocoder.[38]

Along with experiments in electronic disco, another experimental trend in Indian disco music of the early 1980s was the fusion of disco and psychedelic music. Due to 1960s psychedelic rock, popularised by the Beatles' raga rock, borrowing heavily from Indian music, it began exerting a reverse influence and had blended with Bollywood music by the early 1970s. This led to Bollywood producers exploring a middle-ground between disco and psychedelia in the early 1980s. Producers who experimented with disco-psychedelic fusion included Laxmikant–Pyarelal, on songs such as "Om Shanti Om" (Karz, 1980), and R. D. Burman, on songs such as "Pyaar Karne Waale" (Shaan, 1980),[35] along with the use of synthesizers.[28]

Ghazal[edit]

Main article: Filmi-ghazal

Further information: Ghazal

The ghazal tradition of Urdu poetry was the basis for early Bollywood music, ever since the first Indian talkie film, Alam Ara (1931). In turn, filmi ghazals had roots in earlier Urdu Parsi theatre during the 19th to early 20th centuries. The ghazal was the dominant style of Indian film music since the 1930s up until the 1960s. By the 1980s, however, ghazals had become marginalised in film music. Reasons for the decline include Urdu ghazal poetry being gradually phased out from the Indian education system, lyricists targeting urban middle-class audiences, and the influence of Western and Latin American music.[39]

Music directors like Madan Mohan composed notable film-ghazals extensively for Muslim socials in the 1960s and the 1970s.[40]

The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of Nadeem-Shravan's Aashiqui (1990). It had a big impact on Bollywood music at the time, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as Dil, Saajan, Phool Aur Kaante and Deewana.[41] A popular ghazal song from Aashiqui was "Dheere Dheere", a cover version of which was later recorded by Yo Yo Honey Singh and released by T-Series in 2015.

Qawwali[edit]

Main article: Filmi qawwali

Further information: Qawwali

It represents a distinct subgenre of film music, although it is distinct from traditional qawwali, which is devotional Sufi music. One example of filmi qawwali is the song "Pardah Hai Pardah" sung by Mohammed Rafi, and composed by Laxmikant–Pyarelal, for the Indian film Amar Akbar Anthony (1977).[42]

Within the subgenre of filmi qawwali, there exists a form of qawwali that is infused with modern and Western instruments, usually with techno beats, called techno-qawwali. An example of techno-qawwali is "Kajra Re", a filmi song composed by Shankar Ehsaan Loy. A newer variation of the techno-qawwali based on the more dance oriented tracks is known as the "club qawwali". More tracks of this nature are being recorded and released.

Nusrat Fateh Ali Khan and A.R. Rahman have composed filmi qawwalis in the style of traditional qawwali. Examples include "Tere Bin Nahin Jeena" (Kachche Dhaage), "Arziyan" (Delhi 6), "Khwaja Mere Khwaja" (Jodhaa Akbar), "Bharde Do Jholi Meri" (Bajrangi Bhaijaan)[43] and "Kun Faya Kun" (Rockstar).[44]

Rock[edit]

Main article: Indian rock

Further information: Raga rock and Sufi rock

Indian musicians began fusing rock with traditional Indian music from the mid-1960s onwards in filmi songs produced for popular Bollywood films. Some of the more well known early rock songs (including styles such as funk rock, pop rock, psychedelic rock, raga rock, and soft rock) from Bollywood films include Mohammed Rafi's "Jaan Pehechan Ho" in Gumnaam (1965), Kishore Kumar's "O Saathi Re" in Muqaddar Ka Sikandar (1978), and Asha Bhosle songs such as "Dum Maro Dum" in Hare Rama Hare Krishna (1971), "Ae Naujawan Hai Sab" in Apradh (1972), and "Yeh Mera Dil Pyar Ka Diwana" in Don (1978).

Plagiarism[edit]

The Pakistani Qawwali musician Nusrat Fateh Ali Khan had a big impact on Bollywood music, inspiring numerous Indian musicians working in Bollywood, especially during the 1990s. However, there were many instances of Indian music directors plagiarising Khan's music to produce hit filmi songs.[45][46] Several popular examples include Viju Shah's hit song "Tu Cheez Badi Hai Mast Mast" in Mohra (1994) being plagiarised from Khan's popular Qawwali song "Dam Mast Qalandar", "Mera Piya Ghar Aya" used in Yaarana (1995), and "Sanoo Ek Pal Chain Na Aaye" in Judaai (1997).[45] Despite the significant number of hit Bollywood songs plagiarised from his music, Nusrat Fateh Ali Khan was reportedly tolerant towards the plagiarism.[46][47] One of the Bollywood music directors who frequently plagiarised him, Anu Malik, claimed that he loved Khan's music and was actually showing admiration by using his tunes.[47] However, Khan was reportedly aggrieved when Malik turned his spiritual "Allah Hoo, Allah Hoo" into "I Love You, I Love You" in Auzaar (1997).[46] Khan said "he has taken my devotional song Allahu and converted it into I love you. He should at least respect my religious songs."[47]

A number of Bollywood soundtracks also plagiarised Guinean singer Mory Kanté, particularly his 1987 album Akwaba Beach. For example, his song "Tama" inspired two Bollywood songs, Bappi Lahiri's "Tamma Tamma" in Thanedaar (1990) and "Jumma Chumma" in Laxmikant-Pyarelal's soundtrack for Hum (1991), the latter also featuring another song "Ek Doosre Se" which copied his song "Inch Allah".[48] His song "Yé ké yé ké" was also used as background music in the 1990 Bollywood film Agneepath, inspired the Bollywood song "Tamma Tamma" in Thanedaar, and was also copied by Mani Sharma's song "Pellikala Vachesindhe" in the 1997 Telugu film, Preminchukundam Raa.[48]

Cultural impact[edit]

Indian cinema, with its characteristic film music, has not only spread all over Indian society, but also been on the forefront of the spread of India's culture around the world.[1]: 14  In Britain, Hindi film songs are heard in restaurants and on radio channels dedicated to Asian music. The British dramatist Sudha Bhuchar converted a Hindi film hit Hum Aapke Hain Koun..! into a hit musical "Fourteen Songs" which was well received by the British audience. Film-maker Baz Luhrmann acknowledged the influence of Hindi cinema on his production Moulin Rouge by the inclusion of a number "Hindi Sad Diamonds" based on the filmi song "Chamma Chamma" which was composed by Anu Malik.[49] In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia dangdut singers like Ellya Khadam, Rhoma Irama and Mansyur S., have reworked Hindi songs for Indonesian audiences.[50] In France, the band Les Rita Mitsouko used Bollywood influences in their music video for "Le petit train" and French singer Pascal of Bollywood popularised filmi music by covering songs such as "Zindagi Ek Safar Hai Suhana".[51] In Nigeria bandiri music—a combination of Sufi lyrics and Bollywood-style music—has become popular among Hausa youth.[52] Hindi film music has also been combined with local styles in the Caribbean to form "chutney music".[53]

Best-selling music directors[edit]

Rank Music director(s) Name(s) Sales Years Ref
1 A. R. RahmanAllah-Rakka Rahman200,000,000

(Total sales including all industries albums)

1992–2008 [54][55]
2 Nadeem–ShravanNadeem Akhtar Saifi & Shravan Kumar113,100,000 1990–2005 [a]
3 Anu MalikAnwar Malik103,100,000 1993–2006 [b]
4 Jatin–LalitJatin Pandit & Lalit Pandit62,800,000 1992–2006 [c]
5 Uttam SinghUttam Singh42,500,000 1989–2003 [d]
6 RaamlaxmanVijay Patil28,100,000 1989–1999 [e]
7 Rajesh RoshanRajesh Roshan Lal Nagrath27,500,000 1990–2006 [f]
8 Laxmikant–PyarelalLaxmikant Kudalkar & Pyarelal Sharma21,100,000 1973–1995 [g]
9 Nusrat Fateh Ali KhanNusrat Fateh Ali Khan19,650,000 1996–2007 [h]
10 Nikhil-VinayNikhil Kamath & Vinay Tiwar13,600,000 1995–2002 [i]
  • No proper source(s) available, data may be incorrect.

Best-selling soundtrack albums[edit]

See also: Indian Music Industry, Indian pop, Pakistani pop, and List of best-selling albums by country

Top ten since 1985 (Source: Box Office India)[edit]

Rank Year Soundtrack Music director(s) Sales Ref
1 1990AashiquiNadeem–Shravan15,000,000[56]
21997Dil Toh Pagal HaiUttam Singh12,500,000[57]
31996Raja HindustaniNadeem–Shravan11,000,000[57]
41994Hum Aapke Hain KaunRaamlaxman10,000,000[57]
5 1989ChandniShiv-Hari10,000,000[58]
6 1995 Dilwale Dulhaniya Le JayengeJatin-Lalit9,000,000 [57]
1999 Kaho Na... Pyaar HaiRajesh Roshan9,000,000 [57]
8 1998 Kuch Kuch Hota HaiJatin-Lalit8,000,000 [57]
9 1991SaajanNadeem–Shravan

7,000,000

[57]
10 1991 Phool Aur KaanteNadeem–Shravan6,000,000 [57]

By decade since 50s[edit]

By year since 1960[edit]

Year Soundtrack Sales Ref
1960Mughal-e-AzamN/A [60]
1961Junglee
1962Bees Saal Baad
1963Mere Mehboob
1964Sangam
1965Jab Jab Phool Khile
1966Teesri Manzil
1967Upkar
1969Aradhana
1970Johny Mera NaamN/A [61]
1971Haathi Mere Saathi
1972Pakeezah
1973BobbyN/A[61][66]
1974PakeezahN/A[61]
1975SholayN/A[67][66]
1976Laila MajnuN/A [61]
1977Hum Kisise Kum Nahin
1978Muqaddar Ka Sikander
1979Sargam
1980Qurbani1,000,000[66]
1981Ek Duje Ke LiyeN/A[62]
1982Disco Dancer1,000,000[68][66]
1983HeroN/A [62]
1984Pyar Jhukta Nahin
1985Ram Teri Ganga Maili1,000,000[69]
1986Bhagwaan Dada1,000,000[70]
1987Premaloka3,800,000[71]
1988 Qayamat Se Qayamat Tak8,000,000[62][72]
Tezaab8,000,000[72]
1989Chandni10,000,000[58][62]
1990Aashiqui15,000,000[73]
1991Saajan7,000,000[74]
1992Deewana4,500,000[75]
1993 Dilwale5,500,000 [75]
1994Hum Aapke Hain Kaun10,000,000[76]
1995Dilwale Dulhania Le Jayenge9,000,000[77][78]
1996Raja Hindustani11,000,000[57]
1997Dil Toh Pagal Hai12,500,000
1998Kuch Kuch Hota Hai8,000,000
1999Kaho Naa Pyaar Hai9,000,000[79]
2000Mohabbatein5,500,000[64]
2001Kabhi Khushi Kabhie Gham4,800,000[80]
2002Humraaz2,200,000[81]
2003Tere Naam3,000,000
2004Veer-Zaara3,000,000
2005Aashiq Banaya Aapne2,000,000
2006Kabhi Alvida Naa Kehna2,000,000
2007Om Shanti Om1,900,000
2008Ghajini1,900,000[81]
2010Dabangg1,000,000[65]
2011Rockstar1,000,000
2012Cocktail1,000,000
2013Aashiqui 21,000,000
2014Ek Villain1,000,000
2015Bajirao Mastani1,000,000
2016Ae Dil Hai Mushkil1,000,000
2017Jab Harry Met Sejal1,000,000
2018Padmaavat1,000,000
2019Kalank1,000,000

Album streams[edit]

Further information: List of most-viewed Indian music videos on YouTube

Year Soundtrack Composer(s) Lyricist(s) YouTube streams (billions)Ref
2017Tiger Zinda HaiVishal–ShekharIrshad Kamil1.6 [82]
2018Satyameva JayateNadeem–Shravan, Sajid–Wajid, Tanishk Bagchi, Arko, Rochak KohliShabbir Ahmed, Ikka, Kumaar, Arko, Danish Sabri 1.5 [83]
Sonu Ke Titu Ki SweetyZack Knight, Yo Yo Honey Singh, Amaal Mallik, Guru RandhawaZack Knight, Kumaar, Yo Yo Honey Singh, Guru Randhawa1.5 [84]
2017 Badrinath Ki DulhaniaAmaal Mallik, Tanishk Bagchi, Bappi Lahiri, Akhil SachdevaShabbir Ahmed, Kumaar, Akhil Sachdeva, Badshah1.4 [85]
2018 SimmbaTanishk Bagchi, Viju Shah, Nusrat Fateh Ali Khan, KumaarShabbir Ahmed, Rashmi Virag, Nusrat Fateh Ali Khan1.4 [86]

See also[edit]

Notes[edit]

References[edit]

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  2. ^Gokulsing, K. Moti (4 February 2009). Popular culture in a globalised India. Taylor & Francis. p. 130. ISBN . Retrieved 22 January 2012.
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  5. ^Dwyer, Rachel (2006). Filming the Gods: Religion and Indian Cinema. Routledge. p. 106. ISBN .
  6. ^Malvania, Urvi (21 April 2014). "Sony Music eyes numero uno position in India". Business Standard.
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  12. ^Gopal, Sangita (2008). Global Bollywood : Travels of Hindi Song and Dance. University of Minnesota Press. ISBN .
  13. ^Morcom, Anna (2001). "An Understanding between Bollywood and Hollywood? The Meaning of Hollywood-Style Music in Hindi Films". British Journal of Ethnomusicology. 10:1 (1): 63–84. doi:10.1080/09681220108567310. JSTOR 3060772. S2CID 194048350.
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  30. ^Biddu Orchestra – Soul Coaxing at Discogs
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  33. ^Futuristic Journey and Eastern Man at AllMusic
  34. ^Captain Zorro – Phantasm Theme at Discogs
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  44. ^Filmi qawwali in Rockstar (2011 film) on muvyz.com website Retrieved 19 May 2018
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  53. ^Sangita Gopal and Sujata Moorti, ed. (2008). Global Bollywood: Travels of Hindi Song and Dance. University of Minnesota Press. p. 34. ISBN .
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  76. ^Morcom, Anna (2017). Hindi Film Songs and the Cinema. Routledge. p. 198. ISBN .
  77. ^"Rediff On The Net, Movies: How Gulshan Kumar signed his own death warrant". Rediff. 2 September 1997.
  78. ^Ganti, Tejaswini (2012). Producing Bollywood: Inside the Contemporary Hindi Film Industry. Duke University Press. p. 390. ISBN .
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  82. ^"Tiger Zinda Hai". YouTube. Yash Raj Films. Retrieved 18 April 2019.
  83. ^"Satyameva Jayate". YouTube. T-Series. Retrieved 11 June 2019.
  84. ^"Sonu Ke Titu Ki Sweety". YouTube. T-Series. Retrieved 11 June 2019.
  85. ^"Badrinath Ki Dulhaniya". YouTube. T-Series. Retrieved 18 April 2019.
  86. ^"Simmba". YouTube. T-Series. Retrieved 11 June 2019.

Sources[edit]

  • The Indian Diaspora: Dynamics of Migration edited by Narayana Jayaram, p. 164 (Trinidad)
  • Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community by Keila Diehl (Tibetan refugees)
  • Music of Hindu Trinidad: Songs from the India Diaspora by Helen Myers
  • Cassette Culture: Popular Music and Technology in North India by Peter Manuel
  • World Music Volume 2 Latin and North America Caribbean India Asia and: Latin and North America,...by Simon Broughton, Mark Ellingham (History)
  • Pandits in the Movies: Contesting the Identity of Hindustani Classical Music and Musicians in the Hindi Popular Cinema by Greg Booth
  • Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs by Greg Booth
  • Behind the curtain: making music in Mumbai's film studios by Greg Booth
  • Early Indian Talkies: Voice, Performance and Aura: by Madhuja Mukherjee
  • The Cultural Economy of Sound: Reinventing Technology in Indian Popular Cinema by Carlo Nardi
  • Hindi film songs and the cinema by Anna Morcom
  • Film songs and the cultural synergies of Bollywood in and beyond South Asia by Anna Morcom
  • Dhunon ki Yatra-Hindi Filmon ke Sangeetkar 1931–2005 by Pankaj Rag
Sours: https://en.wikipedia.org/wiki/Music_of_Bollywood

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