ETERNAL SONG

3714 Jiirna viishiirna jiiver- SELF-LESS SERVICE SONG click here to play

4795 E GA’N THA’MIBE NA’ – PROUT SONG click here to play

SOME OF THE SALIENT FEATURES OF PRABHÁT SAḾGIITA

June 1983, SEMINAR GUIDE/NOTES

PRABHÁT SAḾGIITA— apparently one would conclude that the School of Music has been named after the composer — Sri Prabhat Ranjan Sarkar. But it is not the whole truth. Rather this School of Music heralds the glorious dawn of a new era in the horizon of Music. That is why it has been named PRABHÁT SAḾGIITA
OPTIMISM, NO PESSIMISM
One of the billion features of PRABHÁT SAḾGIITA is its distinct note of optimism reflected in all its songs. Not even an iota of pessimism is allowed to creep in any of the songs (Total no. of songs composed 5018 till 21st October, 1990). In the present day-writings—whether in music world or literary world, one can easily find a huge mass of literature reflecting dire pessimism, and melancholy, unfulfilled desires and broken promises. But PRABHÁT SAḾGIITA is a marked departure from the present unhealthy trend of composition. Note: Song I (8th Part).
NOVELTY IN BHA’VA, BHA’S'A’, CHANDA AND SURA
For musical excellence, compositions must have four qualities in them—
Novelty and excellence in Bha’va (inner spirit).
Bha’s’a’ (language),
Chanda (rhythm) and
Sura (tunes or melody).

Bha’va—Ideas of songs must be profound and lofty. It must at once bring the mind in tune with higher spiritual world (Paramukhi, Kalya’namukhi and Shreyamukhi). The inner spirit of its songs is mostly mystic. The singer has an ever conscious desire to have a close communion with his Lord— the Lord of Perfection. He knows that though he is still in all its microcosmic imperfection, but by the unbounded grace of unfathomable love of his dear Lord, one day he will overcome all his imperfections and become one with Him.

Language—it is simple and direct, sweet and symphonic. Almost all the songs are composed in the simplest language. Hitherto people had a queer notion that simple and colloquial word and verbs are not good enough to be used in poetry and songs. But P.S. makes a bold departure from the established practice in this regard.
Note songs No. 1, 8, 13 etc. (Part 1).

Rhythm—According to the author of P.S., the ensuing generation is the generation of rhythm. Songs which are not rhythmic do not appeal to the people. This is trend of the age. 95% of the P.S. is rhythmic.

Tune—Almost every songs has a new tune Sometimes even one song has a blending of two or more tunes, making the song sweet and universalistic in appeal.

Variety of Songs
As there are different people with diverse moods, sentiments and propensities of mind, so there must be varieties of songs. The author has kept track of the varying psychology and social needs of people. The composition of large variety of songs.
(1) Devotional songs (General)
(2) Mystic songs (Dream, etc.)
(3) Songs regarding stages of Sadhana
(4) Marching songs
(5) Season songs
(6) Social and Spiritual songs (Annapra’sanna or Infants feeding song, Marriage, Tree plantation, Mourning, Light festival, Birthday, New Year’s day, Yama-Niyama, Cakras, Saptaloka, Baul Folk, First Civilization, Gurukula, AnandaNagar, Ideological Treasure, Niytanitya Viveka, Victory Banner, Path of Bliss, Aesthetic, Tandava, Taraka Brahma, Sailing, Offering, Nirgun’a, Sagun’a, Is’t’a Mantra, Procession, Proutist, Nature, Flora and Fauna, Renaissance, etc.)
(7) Gajal’
(8) Ka’oa’li
(9) Broken Kaoa’li
(10) Jhumur
(11) Children’s songs etc.
(12) Kiirtan
Kiirtan
It is very direct in its approach and appeal. If utilized properly, kiirtan can be a powerful means of bringing the mass spiritual renaissance. But unfortunately, the present kiirtan has lost its appeal for various reasons.
In our school of kiirtan, the existence of the third factor has been denied. There are only the devotee and the Lord. No third entity is invoked. It was a philosophical attribute.
One important aspect of kiirtan is its dynamicity. So repetition should be avoided.
In P.S. school, kiirtan has three distinct parts:
(1) Objective personal (First part of the composition)
(2) Subjective personal (Second part)
(3) Objective impersonal (Last part)