Mughal-e-Azam · 1960
Pyar Kiya To Darna Kya
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
Darbari Kanada
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Kafi
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Shahana
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Pilu
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Madhmad Sarang
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Brindavani Sarang
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Bahar
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.342 (PDF p.171), §3.3, film item 14, song/table row 3; continues printed p.343 (PDF p.172)
Source wording: “गीत के बोल : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।” · 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
Megh
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. The source quotes K.L. Pandey.
Evidence: Named musician's analysis · Radha Tyagi, doctoral thesis on Naushad (University of Delhi, 2015), ch.4, printed p.210 (PDF p.117)
Source wording: “The different ragas that were used in the song include Shahana, Kafi, Megh, Madhyamad Sarang, Vrindavani Sarang, Pilu, Bahar and Darbari Kanada itself.” · 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.