Kunwara Badan · 1973
Apni Khushi Se Apna Hi Dil Todhna Pada
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
Gara
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. This records what the source says; a musician has not checked the recording note by note. The source quotes Pankaj Rag, Dhunon ki Yatra.
Evidence: Named musician's analysis · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.7, printed p.380 (PDF p.44)
Source wording: “स्वतंत्र संगीतकार के रूप में उनकी प्रथम फिल्म ‘‘कुँवारा बदन’’ (1973) ‘‘कुछ भूली हुई यादें, कुछ बिसरे हुए अफ़साने’’ (किशोर कुमार) और राग गारा पर आधारित मदन मोहन की छाया लिए ‘‘अपनी खुशी से अपना ही दिल तोड़ना पड़ा’’ (लता मंगेशकर) की कर्णप्रिय धुनों के कारण उल्लोखनीय रही।”
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Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.