آهنگ‌های فیلم هندی و سینما (سری موسیقی سواس)

Since their beginnings in the 1930s, Hindi films and film songs have dominated Indian public culture in India, and have also made their presence felt strongly in many global contexts. Hindi film songs have been described on the one hand as highly standardized and on the other as highly eclectic. Anna Morcom addresses many of the paradoxes eccentricities and myths of not just Hindi film songs but also of Hindi cinema by analysing film songs in cinematic context. While the presence of songs in Hindi films is commonly dismissed as 'purely commercial', this book demonstrates that in terms of the production process, musical style, and commercial life, it is most powerfully the parent film that shapes and defines the film songs and their success rather than the other way round. While they constitute India's still foremost genre of popular music, film songs are also situational, dramatic sequences, inherently multi-media in style and conception. This book is uniquely grounded in detailed musical and visual analysis of Hindi film songs, song sequences and films as well as a wealth of ethnographic material from the Hindi film and music industries. Its findings lead to highly novel ways of viewing Hindi film songs, their key role in Hindi cinema, and how this affects their wider life in India and across the globe. It will be indispensable to scholars seeking to understand both Hindi film songs and Hindi cinema. It also forms a major contribution to popular music, popular culture, film music studies and ethnomusicology, tackling pertinent issues of cultural production, (multi-)media, and the cross-cultural use of music in Hindi cinema. The book caters for both music specialists as well as a wider audience. Cover Half Title Title Page Copyright Page Contents List of Figures List of Music Examples Preface Acknowledgments 1 The Cinematic Study of Hindi Film Songs Introduction Previous scholarship on Hindi film songs The ‘reel’ world of Hindi film songs Fieldwork Outline 2 The Production Process of Hindi Film Songs The production process of the Hindi film Composing the songs Musical traditions The role of the parent film The role of musical and cinematic tradition and convention Recording Audio Value Filming the songs Conclusions 3 The Musical Style of Hindi Film Songs Arnold’s analysis of film song style Musical structure Rhythm and meter Scale Patterns Predominance of vocal melody Orchestration Vocal style Eclecticism A degree of fantasy and unauthenticity What is film song style? The cinematic dimension of film song style Cinematic situation in film songs The historical development of film song style in cinematic context The uniqueness of film song style Situational changes Background music in Hindi film songs A uniquely cinematic and multimedia style The double life of film songs 4 Music, Narrative and Meaning in Hindi Films An understanding between Bollywood and Hollywood? Western and Hollywood music in Hindi films – some examples Musical Universals? Some remarks on music and meaning Beyond Hollywood hegemony Patterns in the use of Western music in Hindi films Narrative stasis versus progression in Hindi film music Scenes of disturbance and distortion Concluding remarks 5 The Commercial Life of Hindi Film Songs The first few years of sound film The early 1930s to the mid-1980s – The gramophone era Film songs on gramophone record The marketing of film songs in the gramophone era The commercial profitability of film song during the gramophone era The 1980s-2000: The cassette revolution and the spread of television The impact of cassettes The marketing of film songs in the cassette era The profitability of film songs in the cassette era 2000 and beyond: From boom to bust Concluding remarks 6 The Audience Reception of Hindi Film Songs in and beyond the Parent Film The popularity of film songs Audience contact with film songs The primary release of film songs The secondary release of film songs The appropriation of film songs by audiences Film songs in everyday life. With the song Yah dosti from Sholay (1975), he continues From keen amateurs to professionals and aspiring professionals Film songs and traditional musical genres Concluding remarks Conclusions Bibliography Filmography List of Interviews Glossary of Indian Terms Index Since Their Beginnings In The 1930s, Hindi Films And Film Songs Nave Dominated Popular Culture In South Asia And The Diaspora. Anna Morcom Examines The Subject From The Perspectives Of Ethnomusicology, Popular Music Studies, Film Music Studies And South Asian Studies. The Unique Findings Of This Book Illustrate That The Primary Context Of Hindi Film Songs Is Not Just The Culture And Society Of South Asia, But Also The World Created By Their Parent Films And Hindi Cinema In General. Morcom Argues That Film Song As A Musical Style And As A Commercial And Social Phenomenon Does Not Make Sense Unless The Cinematic Context Is Taken, Into Account. The Relationship Of Film Songs And Films Is Explored At The Levels Of Production, Musical Style, Commercial Life And Audience Reception.--book Jacket. The Cinematic Study Of Hindi Film Songs -- The Production Process Of Hindi Film Songs -- The Musical Style Of Hindi Film Songs -- Music, Narrative And Meaning In Hindi Films -- The Commercial Life Of Hindi Film Songs -- The Audience Reception Of Hindi Film Songs In And Beyond The Parent Film -- Conclusions. Anna Morcom. Includes Bibliographical References (p. [243]-252 ) And Index. Includes Filmography. Since their beginnings in the 1930s, Hindi films and film songs have dominated popular culture in South Asia and the diaspora. This work examines the subject from the perspectives of ethnomusicology, popular music studies, film music studies and South Asian studies. It also explores the relationship of film songs and films.