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Ghazals, Nazms, Masnavis, Rubais, Qawwalis, Loris and Other Lost Treasures
The Music Hindi Cinema Forgot offers a rear-view mirror to about 2,000 songs from Hindi films—many of them outstanding—examining and explaining key formats such as ghazals, nazms, masnavis, and rubais, while also spotlighting genres like devotionals, mujras, qawwalis and lullabies. Once the cornerstones of Hindi cinema’s great music, these forms and genres are now almost completely out of use. The book also offers a cursory glance at scores of songs that were made for specific settings such as picnics or vending on the street, and festivals like Diwali and Baisakhi. Films don’t have such things anymore; consequently, no such songs are being recorded.
So why have our films stopped singing songs about these subjects? Like a thin endoscopy tube whose camera captures the insides of a human body, this book attempts an expedition inside our film music to determine what it was that made it so meaningfully beautiful.
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Genre : Non-Fiction/Cinema
Binding : Paperback (6.14″ x 9.25″)
Pages : 516 pages
Published : To be published November 2026
ISBN: 978-81-994964-3-9
Ghazals, Nazms, Masnavis, Rubais, Qawwalis, Loris and Other Lost Treasures
The Music Hindi Cinema Forgot offers a rear-view mirror to about 2,000 songs from Hindi films—many of them outstanding—examining and explaining key formats such as ghazals, nazms, masnavis, and rubais, while also spotlighting genres like devotionals, mujras, qawwalis and lullabies. Once the cornerstones of Hindi cinema’s great music, these forms and genres are now almost completely out of use. The book also offers a cursory glance at scores of songs that were made for specific settings such as picnics or vending on the street, and festivals like Diwali and Baisakhi. Films don’t have such things anymore; consequently, no such songs are being recorded. Elements that have been disappearing from our real lives, like panghats, daak, and conventional phones, are okay to overlook, but nature still exists, babies are still welcomed into the world, and mothers still sing lullabies.
So why have our films stopped singing songs about these subjects? Like a thin endoscopy tube whose camera captures the insides of a human body, this book attempts an expedition inside our film music to determine what it was that made it so meaningfully beautiful.
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