Indian classical music is a piece of an old convention

Indian classical music is a piece of an old convention in which music framed the center of love customs. Continuously it enhanced into two fundamental structures: music for the divine beings, marga-sangeet, and music for the general population, desi-sangeet, and the last shaping the underlying foundations of what we now know as people music.
Another exceptionally slow and arduous advancement through complex authentic and social components prompted two particular customs of traditional music in India—North (Hindustani) and South (Karnatic). In Indian established music there are no harmonies—just notes and their parts (or microtones known as shruti) — with each note played each one in turn to keep up the virtue of the note. There is generally only a performance instrument—or a solitary voice—with an insignificant backup comprising of tambura (a lute that creates an automaton), some sort of melodic instrument (now for the most part a harmonium) and percussion. Vocal music is viewed as …

The National Poet of Bangladesh

Kazi Nazrul Islam (1899-1976): He is known as Bidrohi Kobi.
Nazrul said, “Even though I was born in this country, in this society,
I don’t belong to just this country, this society. I belong to the world.

He was very versatile poet, lyricist and who composed many beautiful songs
and classical music. He also called ‘Bulbul’ or Nightingale of Bengali music.
His poems, songs, novels, short stories, plays and political activities
expressed strong protest against British government.

Kazi Nazrul Islam was born on May 24, 1899 in churulia villae his mother was
Zaheda Khatn and his father Kazi Fakir Ahmed was the Imaam of the local village mosque.

His music became truly people-oriented in its appeal. Nazrul’s musical creativity established him
Not only as an egalitarian composer of “mass music”, but also as the innovator of the Bengali Ghazal.
Nazrul songs were in great demand on the stage as well.