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While music was only one of those areas illumined by his incandescent vision, he was confident of the blessings of the muse. In his own estimation, whether or not some of his creative efforts would survive the ravages of time, music was one arena where he knew he would dei destiny to perpetuate his legacy; as bequeathed to his countrymen.

That this was no empty boast, time has proven with the continued, unwavering popularity of his music; even after over six decades of his passing away. The seeds germinated from the musical ambience at home in Jorasanko Thakurbari where music of all genres had a halcyon day.

With such eclectic upbringing, Tagore blossomed into a virtuoso composer when he was barely 14 and continued till death. In Valmiki Pratibha and Kaal Mrigaya, two of his eadiest music experimentations, Tagore used from church-music; staccato, appropriate to energetic passages to express exhilaration, resolution and confidence; slurred intervals for gentler feelings; and slow largo and adagio for depressing emotions like grief or serene portrayals of reverence.

Like Wagnerin Europe, Tagore gave the world of Indian music a new and perfect form of dramatic content. Having broken completely from older conceptions, according to which music had been a mere playground for melodies for the strong-lunged singers with scant attention paid to lyrics, Tagore like the German poet-composer-- intended music to interpret the poetry.

In his musical journey, Tagore initially used pure classical ragas; to express his characteristic individuality in the word-content and idea- content and established that music is not merely an elaboration of raga, but an inter-weaving of melody with words of the highest literary and spiritual quality.

There began a period of blending melodies form the coterie of select classical ragas, such as. In the Swadeshi times of roving round in boats, Tagore was inspired not merely by the village Bauls, and the boatswains singing Bhatiyali and Sari tunes, but also by a gathering of folk and classical genres from Amritsar to Chennai, and even from abroad.

All of them left lasting impressions on Tagore; often in a pure form or, at times, with a touch of classicism commingled with them. A cascading of creative oeuvre followed; beginning from Vedic hymns and Pali stotras, and getting into Vaishnava Padavali, the Sori Mainstyle of Tappa, rich Carnatic music from Chennai and Mysore, the eastern Keertan with embellishments of Akhodo , --then combinations of Basil and Keertan, boatswain songs, Ramprasadi, and even Western tunes from the English and Italian shores.

Finally came a creative upsurge completely new in the thousand years of Indian music heritage where all music from folk to classical was put into a melting pot-- to mix Keertan with Adana-Babar; Keertan with BaharPancham or raga Nata; Baul with Kalingra raga; or Keertan imbibing the style of narrative poetry. There came songs in an exuberant matrix of talas, - adding many refreshingly new combinations of rhythms.

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Many of these materials are either unavailable or inaccessible in libraries in India, especially in some of the poorer states and this collection seeks to fill a major gap that exists in access to knowledge. Toggle navigation. Rabindra sangeet audio mp3 with lyrics in album. From mediafire. From 4shared. Download Sinhala Song Zip File mp3 for free Sinhala Song Zip File Browse the top rabindra sangeet albums to find new music and discover artists.

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