Meera · 1979
Eri Main To Prem Divani
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Todi and Gujari Todi 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
Todi
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, The Empire of Todi — https://www.parrikar.org/hindustani/todi/ — paragraph opening: “When Lata refused to sing for MEERA (1979) several composers backed off”
Source wording: “When Lata refused to sing for MEERA (1979) several composers backed off and Gulzar found himself knocking on Ravi Shankar‘s door. The maestro pulled G’s chestnuts out of the fire in a trice. The haunting orchestral prelude is followed by Vani Jairam: eri main to prem diwani.”
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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
Gujari Todi
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 · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.2, printed p.73 (PDF p.26), composer discussion / prose example
Source wording: “मने चाकर राखो जी’, गुजरी तोड़ी पर सृजित ‘एरी मैं तो प्रेम दिवानी’, खमाज राग पर आधारित ‘मेरे तो गिरिधर गोपाल’, जयजयवंती एवं माँझ खमाज पर आधारित ‘प्यारे दर्शन दीजो’, देस राग पर आधारित ‘मैं साँवरे के रंग’ इन सभी गीतों को रविशंकर जी ने अति सुन्दर ढंग से रागों में सृजित किया।”
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.