Angulimaal · 1960
Aayi Aayi Basanti Bela
Hindi-film eligibility matched; song credits may still need checking
Metadata references
Release and credit references do not establish a raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary or taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary attribution.
Reported raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
Bahar
A named writer on music analysed the song in this raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary as one of several raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary in the song. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.291 (PDF p.120), notated analysis; continues printed p.292 (PDF p.121)
Source wording: “फ़िल्म का नाम : अंगुलिमाल (1960); गीत के बोल : आई आई बसन्ती बेला; गायक कलाकार : मन्ना डे, आशा भोसले, मीना कपूर एवं साथी कलाकार; संगीत 291 निर्देशक : अनिल बिस्वास; प्रयुक्त राग : बहार + देस + खमाज + जयजयवंती + बहार, प्रयुक्त ताल : दादरा + तीनताल + कहरवा + दादरा।” · Applies to: mixed
Need the attribution logic? Read how film-song raags are identified.
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.
Reported raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
Desh
A named writer on music analysed the song in this raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary as one of several raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary in the song. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.291 (PDF p.120), notated analysis; continues printed p.292 (PDF p.121)
Source wording: “फ़िल्म का नाम : अंगुलिमाल (1960); गीत के बोल : आई आई बसन्ती बेला; गायक कलाकार : मन्ना डे, आशा भोसले, मीना कपूर एवं साथी कलाकार; संगीत 291 निर्देशक : अनिल बिस्वास; प्रयुक्त राग : बहार + देस + खमाज + जयजयवंती + बहार, प्रयुक्त ताल : दादरा + तीनताल + कहरवा + दादरा।” · Applies to: mixed
Need the attribution logic? Read how film-song raags are identified.
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.
Reported raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
Khamaj
A named writer on music analysed the song in this raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary as one of several raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary in the song. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.291 (PDF p.120), notated analysis; continues printed p.292 (PDF p.121)
Source wording: “फ़िल्म का नाम : अंगुलिमाल (1960); गीत के बोल : आई आई बसन्ती बेला; गायक कलाकार : मन्ना डे, आशा भोसले, मीना कपूर एवं साथी कलाकार; संगीत 291 निर्देशक : अनिल बिस्वास; प्रयुक्त राग : बहार + देस + खमाज + जयजयवंती + बहार, प्रयुक्त ताल : दादरा + तीनताल + कहरवा + दादरा।” · Applies to: mixed
Need the attribution logic? Read how film-song raags are identified.
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.
Reported raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
Jaijaivanti
A named writer on music analysed the song in this raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary as one of several raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary in the song. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.291 (PDF p.120), notated analysis; continues printed p.292 (PDF p.121)
Source wording: “फ़िल्म का नाम : अंगुलिमाल (1960); गीत के बोल : आई आई बसन्ती बेला; गायक कलाकार : मन्ना डे, आशा भोसले, मीना कपूर एवं साथी कलाकार; संगीत 291 निर्देशक : अनिल बिस्वास; प्रयुक्त राग : बहार + देस + खमाज + जयजयवंती + बहार, प्रयुक्त ताल : दादरा + तीनताल + कहरवा + दादरा।” · Applies to: mixed
Need the attribution logic? Read how film-song raags are identified.
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.