Bawarchi · 1972
Tum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Bhinashadaj, Kaushik Dhwani, Charukesi, Nat Bhairavi, Mishra Shadja and Rageshri influence 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 for part of the song. 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: “Movie: BAWARCHI (1972), Composer: Madan Mohan, Voice: Manna Dey. The asthai is”
Source wording: “Movie: BAWARCHI (1972), Composer: Madan Mohan, Voice: Manna Dey. The asthai is of interest to us, the antara strays elsewhere: tuma bina jeevana kaisa jeevana.” · Applies to: section
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
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.3, printed p.347 (PDF p.176), §3.3, film item 23, song/table row 4
Source wording: “गीत के बोल : तुम बिन जीवन कैसा जीवन; गायक कलाकार : मन्ना डे; प्रयुक्त राग एवं ताल : कौशिक ध्वनि+चारूकेशी+नटभैरव अद्धा 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
Charukesi
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 4
Source wording: “गीत के बोल : तुम बिन जीवन कैसा जीवन; गायक कलाकार : मन्ना डे; प्रयुक्त राग एवं ताल : कौशिक ध्वनि+चारूकेशी+नटभैरव अद्धा 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
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.347 (PDF p.176), §3.3, film item 23, song/table row 4
Source wording: “गीत के बोल : तुम बिन जीवन कैसा जीवन; गायक कलाकार : मन्ना डे; प्रयुक्त राग एवं ताल : कौशिक ध्वनि+चारूकेशी+नटभैरव अद्धा 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
Mishra Shadja
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 · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.6, printed p.304 (PDF p.100)
Source wording: “रिषभ का अवरोह में प्रयोग होने के कारण हम इसे मिश्र षड्ज कह सकते हैं, परन्तु इस गीत का आधार राग हम भिन्न षड्ज को कह सकते हैं।”
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
Rageshri
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. The source quotes Pankaj Rag, Dhunon ki Yatra.
Evidence: Named musician's analysis · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.7, printed p.346 (PDF p.10)
Source wording: “14 भिन्न षड्ज और कौशिक तथा रागेश्री की छाया लिए ‘तुम बिन जीवन कैसा जीवन’ (मन्ना डे) का कविता जैसा सांैदर्य, लावणी की शैली की छाया लिए ‘पहलो चोरी फिर सीना जोरी’ (कुमारी फैयाज़), ठुमरी शैली में ‘काहे कान्हा करत बरजोरी’ (लक्ष्मीशंकर), लक्ष्मीशंकर, निर्मला देवी जैसी” · Applies to: influence
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.