Jahan Ara · 1964
Woh Chup Rahe To
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.
Sources differ: Basant Bahar influence and Mian Ki Malhar 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
Basant 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 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 Vishwas Nerurkar, Madan Mohan: Ultimate Melody.
Evidence: Named musician's analysis · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.7, printed p.342 (PDF p.6)
Source wording: “सितार का अविस्मरणीय प्रयोग, बसंत बहार के सुरों की छाया, अद्भुत कम्पोज़िशन और अद्वितीय गायकी ‘वो चुप रहें’ को मदन मोहन की सर्वश्रेष्ठ ग़ज़लों में से एक बनाते हैं।” · 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.
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
Mian Ki Malhar
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 · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.7, printed p.358 (PDF p.22)
Source wording: “इस ग़ज़ल में राग मियाँ मल्हार के प्रभाव से तो मदनमोहन के शास्त्रीय संगीत की गहराई का कुछ अंदाज़ा लगाया जा सकता है।” · 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.