Moghal-E-Azam · 1960
Prem Jogan Ban Ke (a.k.a. Prem Ki Mari Qatara, Prem Jogan Ban Ke)
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Sohani influence, Sahni and Marwa 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
Sohani
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, The Marwa Matrix (Part 1/2) — https://www.parrikar.org/hindustani/marwa/ — Raga Sohani; paragraph opening: “The movie MUGHAL-E-AAZAM (1960) featured a rendition by Bade Ghulam Ali Khan,”
Source wording: “The movie MUGHAL-E-AAZAM (1960) featured a rendition by Bade Ghulam Ali Khan, patterned after the well-known thumri, prema ki mari qatara: prema jogana bana.” · Applies to: influence
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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
Sahni
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.3, printed p.342 (PDF p.171), §3.3, film item 14, song/table row 1
Source wording: “गीत के बोल : प्रेम जोगन बनके; गायक कलाकार : उस्ताद बडे़ गुलाम अली खाँ; प्रयुक्त राग एवं ताल : साहनी, जतताल।”
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
Marwa
Pooja Tiwari identifies Marwa notes briefly while the sthayi mukhda is repeated, followed by a return to Sohni. This is a section-level observation, not a whole-song Marwa identity.
Evidence: Named musician's analysis · Pooja Tiwari, doctoral thesis on semi-classical styles in film music (University of Delhi, 2020), ch.3, printed p.159 (PDF p.43)
Source wording: “स्थाई के मुखडे़ को दोहराते समय एक जगह राग मारवा के स्वरों का प्रयोग भी दिखता है तथा पुन: राग सोहनी में आ जाते हैं, जैसे-” · Applies to: section
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.