Hindi Film Songs and the Cinema
Since their beginnings in the 1930s, Hindi films and film songs have dominated popular culture in South Asia and the diaspora and more recently gained popularity in Russia, the Middle East, parts of Africa, Britain and the US. Anna Morcom examines Hindi film songs 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.
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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
List of Interviews
Glossary of Indian Terms
A. R. Rahman Aditya Chopra Alka Yagnik Anand Bakshi Anu Malik Arjun Arnold audiences audio background music background scores cassette changes chapter characters classical music commercial composed culture dancing Dil To Pagal discussed dramatic emotional example expression film music film narrative film song style films and film Ganga genres heroine Hindi cinema Hindi film songs Hollywood films ibid Indian music instrumental interludes interview Kabhi Kumar lyricist Male chorus Manuel Marte Hain melody Mughal-e-Azam music company music director music in Hindi musical style Naushad orchestration parent film particular performance playback singers played popular music producer Pyar qawwalT R.D. Burman radio Rajiv recording session refrain release role romantic Sabri brothers scene Sholay shot singing song sequences song situation sound stars stasis sung tabla television traditional trailers tunes Urdu Uttam Singh verse videos violins visual Western music Whilst Yash Chopra Yash Raj Films