Bahurani · 1963
Balma Anadi Man Bhaye
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Bhinashadaj influence, Hemant, Kaushik Dhwani and Khamaj are separately reported. RagaPedia has not resolved this difference or verified a multi-raag treatment of the recording.
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
Bhinashadaj
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 an influence rather than a strict identity. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Rajan Parrikar, Hindustani raag articles, Short Takes - Bhinna Shadaj — https://www.parrikar.org/hindustani/bhinnashadaj/ — Raga Bhinna Shadaj; paragraph opening: “In BAHURANI (1963), C. Ramchandra modeled his composition after the preceding BGAK”
Source wording: “In BAHURANI (1963), C. Ramchandra modeled his composition after the preceding BGAK thumri. Lata Mangeshkar: balama anari mana bhaye.” · Applies to: influence
Need the attribution logic? Read how film-song raags are identified.
Attribution sources
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
Hemant
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.4, printed p.429 (PDF p.46), composer discussion / prose example, table row 32, table row 32
Source wording: “इसी ठुमरी पर आधारित गीत है ‘बलमा अनाड़ी मन भाए’-जिसे लता जी ने सन् 1963 में बनी फ़िल्म ‘बहूरानी’ में गाया एवं उन्होंने इस गीत को हेमन्त, कौशिक ध्वनि, खमाज रागों के स्वरों में एवं कहरवा ताल में गाया है।” · 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
Kaushik Dhwani
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.4, printed p.429 (PDF p.46), composer discussion / prose example, table row 32, table row 32
Source wording: “इसी ठुमरी पर आधारित गीत है ‘बलमा अनाड़ी मन भाए’-जिसे लता जी ने सन् 1963 में बनी फ़िल्म ‘बहूरानी’ में गाया एवं उन्होंने इस गीत को हेमन्त, कौशिक ध्वनि, खमाज रागों के स्वरों में एवं कहरवा ताल में गाया है।” · 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.4, printed p.429 (PDF p.46), composer discussion / prose example, table row 32, table row 32
Source wording: “इसी ठुमरी पर आधारित गीत है ‘बलमा अनाड़ी मन भाए’-जिसे लता जी ने सन् 1963 में बनी फ़िल्म ‘बहूरानी’ में गाया एवं उन्होंने इस गीत को हेमन्त, कौशिक ध्वनि, खमाज रागों के स्वरों में एवं कहरवा ताल में गाया है।” · 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.