Bawarchi · 1972
Bhor Ayi, Gaya Andhiyara
Hindi-film eligibility matched; song credits may still need checking
Singer: Manna Dey, Lakshmi Shankar, Nirmala Devi, Kishore Kumar, Harindranath Chattopadhyay
Music: Madan Mohan
Recording: original
Sources differ: Alhiya Bilawal, Bilawal, Khamaj, Maru Bihag, Nat Bhairavi, Hamsadhwani and Dhani 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
Alhiya Bilawal
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.293 (PDF p.122), notated analysis, segment 1
Source wording: “गीत के बोल : भोर आई गया अँधियारा; गायक कलाकार : मन्ना डे, लक्ष्मी शंकर एवं निर्मला देवी; संगीत निर्देशक : मदन मोहन; प्रयुक्त राग एवं ताल : अल्हैया बिलावल, तीनताल+अद्धा।” · Applies to: mixed
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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
Bilawal
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.
Evidence: Named musician's analysis · Rajan Parrikar, Hindustani raag articles, On the Bilawal Trail — https://www.parrikar.org/hindustani/bilawal/ — Raga Bilawal or Alhaiyya Bilawal; paragraph opening: “Full-length compositions in the ‘light’ genres with complete fidelity to Bilawal are”
Source wording: “Full-length compositions in the ‘light’ genres with complete fidelity to Bilawal are uncommon. We inaugurate the proceedings with Madan Mohan‘s composition from BAWARCHI (1972), rendered by Manna Dey, Lakshmi Shankar and Nirmala Devi: bhor aayi gaya andhiyara.”
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
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.293 (PDF p.122), notated analysis, segment 2
Source wording: “गीत के बोल : धरती भी झूमे; प्रयुक्त राग एवं ताल : खमाज, तीनताल।” · 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
Maru Bihag
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.293 (PDF p.122), notated analysis, segment 4
Source wording: “गीत के बोल : देखो कहता है तुमसे सवेरा; गायक कलाकार : मन्ना डे, लक्ष्मी शंकर एवं निर्मला देवी; प्रयुक्त राग एवं ताल :मारू बिहाग, कहरवा।” · 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
Nat Bhairavi
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.293 (PDF p.122), notated analysis, segment 5
Source wording: “गीत के बोल : हे गुड मार्निंग; गायक कलाकार : किशोर कुमार; प्रयुक्त राग एवं ताल : नट भैरवी, कहरवा।” · 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
Hamsadhwani
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.293 (PDF p.122), notated analysis, segment 6
Source wording: “गीत के बोल : आई पनियाँ भरन की बेला; गायक कलाकार : लक्ष्मी शंकर एवं निर्मला देवी; प्रयुक्त राग एवं ताल : हंसध्वनि, तीनताल।” · 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
Dhani
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.347 (PDF p.176), §3.3, film item 23, song/table row 1
Source wording: “गीत के बोल : भोर आई गया अंधियारा (रागमालिका); गायक कलाकार : मन्ना डे, लक्ष्मी शंकर, निर्मला देवी, किशोर कुमार, हरेन्द्र नाथ चट्टोपाध्याय; प्रयुक्त राग एवं ताल : अल्हैया बिलावल + खमाज + मारूबिहाग+नटभैरवी+धानी+हंसध्वनि, तीनताल+अद्धा तीनताल+कहरवा।” · 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.