Month: March 2020

-শক্তি মণ্ডল
বাংলা ভাষা, সংস্কৃতি ও সামগ্রিকভাবে বাঙালি জাতিসত্তার বিকাশে যে মনীষীরা তাঁদের সারা জীবন উৎসর্গ করেছিলেন, তাঁদের অন্যতম হলেন গুরুসদয় দত্ত। তাঁর সবথেকে বড়ো অবদান, তিনি বাঙালি জাতিসত্তার আন্দোলনকে একটি সুদৃঢ় ভিত্তির উপর প্রতিষ্ঠিত করেছিলেন। বাংলার নিজস্ব নৃত্য,গীত, শিল্প-সংস্কৃতিকে গৌরবের আসনে বসিয়েছিলেন এবং এগুলির নিরন্তর চর্চার জন্য গঠন করেছিলেন ‘বাংলার ব্রতচারী সমিতি’।

প্রেক্ষাপট:১৮৮২ সালের ১০ মে অবিভক্ত বঙ্গের শ্রীহট্ট জেলার কুশীয়ারা নদীতীরে বীরশ্রী গ্রামে গুরুসদয়ের জন্ম। তখন বাংলায় ইংরেজ শাসনের ১২৫ বছর পূর্ণ হচ্ছে। ধূর্ত, দাম্ভিক মেকলের ১৮৩৫ সালের পরিকল্পনা অনুসারে শহরে, গঞ্জে গড়ে উঠছে ব্রিটিশের সেবাদাস ‘বাবু’ সম্প্রদায়।অন্যদিকে চিরস্থায়ী বন্দোবস্তের ফলে সৃষ্ট নব্য জমিদারদের এবং মহাজন,আমলা, নীলকর, বেনিয়াদের দৌরাত্ম্যে দুর্ভিক্ষ-পীড়িত গ্রামাঞ্চলে গভীর হতাশার পাশাপাশি ঘটছে নানা বিক্ষোভ, বিদ্রোহ। মাতৃভাষা ও লোকসংস্কৃতিকে তখন অবজ্ঞার চোখে দেখা হত।এরই মধ্যে রামমোহন ডিরোজিও বিদ্যাসাগর যে নবজাগরণের ঢেউ গড়ে তোলেন, তাতে অবগাহন করেন গুরুসদয়। প্রেসিডেন্সি কলেজে তিনি শিক্ষাগুরু হিসাবে পেয়েছিলেন আচার্য প্রফুল্লচন্দ্র ও জগদীশচন্দ্রকে।১৯০৫ সালে মাত্র ২৩ বছর বয়সে তিনি যখন বিলেত থেকে একই সঙ্গে কৃতিত্বের সঙ্গে আই সি এস এবং ব্যারিস্টারি পাশ করে ফিরলেন, তখন বঙ্গভঙ্গের বিরুদ্ধে হিন্দু-মুসলিম ঐক্যের গান গেয়ে পথে নেমেছেন রবীন্দ্রনাথ।

লোকসংস্কৃতির পুনরুজ্জীবন:গুরুসদয় সরকারি প্রশাসক হিসাবে প্রথমে কাজ করেছেন বিহারের আরা ও গয়া জেলায়। তারপর বিচার বিভাগীয় কাজে গিয়েছেন বঙ্গের বগুড়া, যশোর, ফরিদপুর, কুমিল্লা,ঢাকা, বরিশাল, খুলনা প্রভৃতি জেলায়। এরপর বীরভূম, বাঁকুড়া,হাওড়া ও ময়মনসিংহের জেলা শাসক, শিক্ষা বিভাগের অধিকর্তা,স্বশাসিত প্রাদেশিক সরকারের সচিব, কেন্দ্রীয় আইনসভার মনোনীত সদস্য প্রভৃতি নানা পদের দায়িত্ব পালন করছেন। আন্তর্জাতিক নানা সভা, সম্মেলনে ভারতের প্রতিনিধিত্ব করেছেন।

গ্রাম বাংলার নানা প্রান্তে নিবিড়ভাবে কাজ করার সময় তিনি ঘনিষ্ঠভাবে পরিচিত হন পল্লীর অতুলনীয় সম্পদ- বৈচিত্র্যপূর্ণ লোকনৃত্য, লোকগীতি ও লোকশিল্পের সঙ্গে। তিনি উপলব্ধি করেন,”আমাদের জাতীয়তার পরিণতি ও পরিচয় হবে বাংলার সংকৃষ্টির নিবিড় প্রকাশে; একমাত্র তাতে করেই আমরা ভারত-মানবতার ও বিশ্ব-মানবতার ক্ষেত্রে আমাদের বৈশিষ্ট্যকে দান করতে পারব।নতুবা আমাদের জীবন হবে অর্থহীন ও মূল্যহীন।”

তিনি পল্লীর এই সম্পদগুলি সংগ্রহ ও প্রচারে ব্রতী হলেন। এইভাবে সংগৃহীত হল বাউল, জারী,সারি, কীর্তন, ভাটিয়ালি,কাঠি, মুর্শিদি, ব্রত,ঝুমুর, যশোরের যুদ্ধনৃত্য ঢালী,ঘাটওলানো, ফরিদপুরের বিবাহ নৃত্য ও গীত প্রভৃতি। সংগ্রহ করলেন পট, আলপনা,কাঠ ও পাথরের মূর্তি, দেওয়াল চিত্র,আসন,পোড়ামাটির কাজ, অসংখ্য প্রত্ন নিদর্শন প্রভৃতি।বাংলা ভাষা ও সংস্কৃতিতে মাতোয়ারা হয়ে তিনি লিখলেন-

“মানুষ হ’, মানুষ হ’আবার তোরা মানুষ হ’-অনুকরণ খোলস ভেদিকায়মনে বাঙ্গালী হ’।শিখে নে দেশ বিদেশের জ্ঞান,তবু হারাস না মা’র মান।.. বাংলা ভাষার বুলি বলে,বাংলা ভাবে নেচে-খেলেষোলোআনা বাঙ্গালী হ’-সম্পূর্ণ বাঙ্গালী হ’-বিশ্ব-মানব হবি যদি,

শাশ্বত বাঙ্গালী হ’।”

ময়মনসিংহের জেলা শাসক থাকাকালীন তিনি নেত্রকোণার বাউল এবং আধারবাড়ীর ইমাম বক্সের জারী দলকে আমন্ত্রণ করে বিশেষ অনুষ্ঠানের আয়োজন করেছিলেন।খালি গায়ে নাচলেন ওদের সঙ্গে। গাঁয়ের লোকদের সঙ্গে নিজে কোদাল কুড়ুল ঝুড়ি নিয়ে নামলেন ‌জঙ্গল সাফাই,পানা পরিষ্কার, নর্দমার পাঁক তোলার কাজে। সাধারণ মানুষ চিনে নিল,এ আমাদেরই লোক। উন্নাসিকরা বলল,’পাগল’।

বাঙালি জাতিসত্তা আন্দোলনের তাত্ত্বিক ভিত্তি : গুরুসদয় দত্ত বা গুরুজি বাঙালি জাতিসত্তার আন্দোলনকে যে তাত্ত্বিক ভিত্তির উপর দাঁড় করান, তার দুটি স্তম্ভ- (১) ভূমিবাদ ও (২) ছন্দবাদ।

ভূমিবাদকে তুলনা করা যায় চারাগাছের বেড়ে ওঠার সঙ্গে।চারার শিকড় মাটিতে ছড়িয়ে থাকে। সেখান থেকে রস নিয়ে সে বেড়ে ওঠে।তার ডালপালা ছড়িয়ে পড়ে আকাশের দিকে। সেখানকার আলো বাতাস তাকে পুষ্ট করে।এই মাটি জল আলো বাতাস না পেলে সে বাঁচতে পারে না। মানুষও বিশেষ এলাকায় জন্মায়।মা বাবা আত্মীয় পরিজনের যত্ন ছাড়া সে বড়ো হতে পারে না। তার সামাজিকীকরণ হয এদের সঙ্গে মিলেমিশে, স্থানীয় ভাষা ও সংস্কৃতির সঙ্গে একাত্ম হওয়ার মধ্য দিয়ে। এদের প্রতি দায়বদ্ধ না থাকলে সে সমাজকে কিছু দিতে পারে না।গুরুজির ব্যাখ্যা অনুসারে, ” প্রত্যেক প্রাকৃতিক দেশ একটা বিশিষ্ট ভূমি। সেই ভূমির আকাশে বাতাসে জলে স্থলে নদীতে একটি ছন্দ-স্রোতের ধারা প্রতিনিয়ত প্রবাহিত হয়ে সেই দেশের মানুষকে একটা বৈশিষ্ট্য দান করে; তাদের চরিত্রে- তাদের ভাষায়- তাদের সাহিত্যে- তাদের কণ্ঠের সু্রে- তাদের গতিভঙ্গীতে- তাদের নৃত্যে ও গীতে একটা বৈশিষ্ট্যময় ভাব দান করে।” গানের মাধ্যমে তিনি বলেছেন-

“আমরা বাঙ্গালী সবাই বাংলা মা’র সন্তান-বাংলাভূমির জল ও হাওয়ায় তৈরী মোদের প্রাণ।মোদের দেহ মোদের ভাষা মোদের নাচ আর গানবাংলাভূমির মাটি হাওয়া জলেতে নির্মাণ।বাংলাভূমির প্রেমে মোদের ধর্ম্ম আর ইমান-

বাংলাভূমি মোদের কাছে স্বর্গ-সম স্থান।”

ছন্দবাদের মর্মবাণী হল, মানুষের হৃদয়ের মধ্যে স্বতঃপ্রবাহিত সুর ও ছন্দ দিয়ে আনন্দ ও ঐক্যের ধারা গড়ে তোলা। তাঁর ব্যাখ্যা, বিজ্ঞান আবিষ্কার করেছে এই বিরাট ব্রহ্মাণ্ড এক অখণ্ড সত্তা; অবিরাম গতিশীল ও ছন্দশীল। নদীর স্রোত, সাগরের ঢেউ, দেহের রক্ত সঞ্চালন, শ্বাস প্রশ্বাস – সবকিছুই ছন্দে বাঁধা।এই বিশ্বের এবং আমাদের ভাষা, নৃত্য,গীতের ছন্দকে আয়ত্ত্ব করতে পারলেই আমরা খুঁজে পাব মানবতার সমতানতা।তিনি লিখেছেন,”আমেরিকার কাছে অতি- আধুনিকতা সাজে- কারণ তার নিজস্ব ধারা কিছু ছিল না। তার অন্তরের শূন্যতা ও নিঃস্বতাকে ঢাকতে গিয়ে সে এই অতি-আধুনিকতার সৃষ্টি করেছে।” কিন্তু বঙ্গদেশ-সহ এদেশের প্রতিটি অঞ্চলেরই তো সমৃদ্ধ সাংস্কৃতিক সম্পদ আছে। সেই তো তার প্রকৃত পরিচয়।”বাংলা্য প্রত্যক লোক যদি বাঙ্গালী হিসাবে, বাঙ্গালী ও বাংলার আত্মা্র বৈশিষ্ট্য হারিয়ে ভিতরের ও বাহিরের ভাবে ও ছন্দে একটা অন্য জাতির নকল স্বরূপ হয়ে যায়, তাহলে সে যদি বাহ্য স্বাধীনতাও পায়, সেই স্বাধীনতাকে বাঙ্গালীর স্ব-স্বাধীনতা বা বাংলার স্বাধীনতা বলা যাবে না‌।কারণ বাংলার স্ব-ছন্দ বা স্বছন্দ এবং স্ব-ধারা যদি বাঙ্গালী হারায়, তাহলে বিশ্বে দান করার মত তার অবদান কিছু থাকবে না।”

গুরুসদয়ের এই প্রয়াসকে কেউ কেউ ‘প্রাদেশিকতা’ বলে কটাক্ষ করেছিলেন। তার উত্তরে তিনি বলেছিলেন,”..তারা যাকে প্রাদেশিকতা মনে করেন,সেটাই আসল জাতীয়তা।.. আমাদের জাতীয়তার পরিণতি ও পরিচয় হবে বাংলার সংকৃষ্টির নিবিড় প্রকাশে; একমাত্র তাতে করেই আমরা ভারত-মানবতার ও বিশ্ব-মানবতার ক্ষেত্রে আমাদের বৈশিষ্ট্যের দান করতে পারব।নতুবা আমাদের জীবন মূল্যহীন।”বাংলার ব্রতচারী সমিতি:গুরুসদয় তাঁর ভাবনাকে আন্দোলনের আকারে গড়ে তোলার জন্য গঠন করলেন,’বাংলার ব্রতচারী সমিতি’।এর সূচনা হয় সিউড়িতে ১৯৩২ সালের ৬ ফেব্রুয়ারি একটি লোকনৃত্য-গীতি প্রশিক্ষণ শিবিরে। ব্রতচারীর সাধনা শুরু হয় ‘জ-সো-বা’ অর্থাৎ ‘জয় সোনার বাংলা’ ধ্বনি দিয়ে। ব্রতচারীর প্রধান দুই উপকরণ – পঞ্চব্রত ও ছন্দাত্মক সাধনা। পাঁচটি ব্রত হল- জ্ঞানব্রত,শ্রমব্রত,সত্যব্রত,ঐক্যব্রত ও আনন্দ ব্রত। গুরুজি শ্রমব্রতকে দাঁড় করালেন,’বাবু’ সংস্কৃতির পাল্টা হিসাবে। আহ্বান করলেন-”লাগো কাজে কোমর বেঁধে,খুলে দেখ জ্ঞানের চোখ-কোদাল হাতে খাটে যারা, ‌‌ তারাই আসল ভদ্রলোক।”

তিনি সম্ভাষণ,অভিবাদন ইত্যাদিতে প্রবর্তন করলেন চমৎকার বাঙালিয়ানা। তিনি জানালেন, “বাংলার ব্রতচারী সমিতি চায়, বাঙ্গালীকে নিবিড়ভাবে আত্ম-প্রবুদ্ধ,আত্ম-গৌরব সচেতন ও আত্মনির্ভর করে” গড়ে তুলতে। ব্রতচারীর আন্দোলনের সঙ্গে তিনি যুক্ত করলেন ষোলোটি পণ।এগুলির মধ্যে আছে-

” জ্ঞানের সীমা প্রসারণ

শ্রমের মর্যাদা বর্ধন ..

নারীরা মুক্তি সংসাধন ” ইত্যাদি।

এর সঙ্গে তিনি যুক্ত করেছেন সতেরোটি মানা। এগুলির মধ্যে আছে-“..খিঁচুড়ি ভাষায় বলিব না ..দৈবে ভরসা রাখিব না” ইত্যাদি।লিখলেন তরুণদের বীরত্বব্যঞ্জক গান-“বাংলা মা’র দুর্নিবার আমরা তরুণ দল-শ্রান্তিহীন,ক্লান্তিহীন,সংকটে অটল।..”গুরুসদয়ের সুপরিকল্পনায় ও সুপরিচালনায় সারা বঙ্গদেশের নানা প্রান্তে,বহির্বঙ্গে, এমনকি বিদেশেও ব্রতচারী সমিতির শাখা গড়ে উঠল। সমষ্টিগতভাবে শারীরিক ব্যায়াম, নৃত্য-গীত প্রতিটি ব্রতচারী প্রশিক্ষণ শিবিরকে আকর্ষণীয় করে তুলল।এরই সঙ্গে চলতে লাগল বাংলার সম্পদ সম্পর্কে দেশ বিদেশের নানা গবেষণামূলক রচনা, পত্রিকা প্রকাশ।প্রায় ৩,৫০০ প্রর্দশনযোগ্য বস্তু নিয়ে ১৯৩২ সালে কলকাতার ‘সোসাইটি অভ আর্ট’ ভবনে তিনি বাংলার লোকশিল্পের প্রথম প্রকাশ্য প্রর্দশনীর আয়োজন করলেন।বিস্মিত হলেন দর্শকরা। ধন্য ধন্য করলেন অবনীন্দ্রনাথ, সুনীতি চট্টোপাধ্যায়, মনোজ বসু, দীনেশচন্দ্র সেন প্রমুখ গুণীজনেরা। পরবর্তীকালে এগুলি নিয়ে ঠাকুরপুকুরে তাঁরই প্রতিষ্ঠিত ‘ব্রতচারী গ্রাম’-এ গড়ে ওঠে ভারতের পূ্র্বাঞ্চলের শ্রেষ্ঠ লোকশিল্প প্রর্দশন কেন্দ্র, এখন যার নাম ‘গুরুসদয় সংগ্রহশালা’।শান্তিনিকেতন থেকে (১৩৪০ সালের ২৫ আষাঢ়) রবীন্দ্রনাথ গুরুসদয়কে লিখলেন, “.. ব্রতচারী অনুষ্ঠানটি বাংলাদেশে ছড়িয়ে পড়ুক,এই কামনা করি।এই ব্রতচর্যা পালন করলে প্রাণের আনন্দ, কর্মের শক্তি, চরিত্রের দৃঢ়তা ও লোকহিত সাধনের উৎসাহ দেশে বল লাভ করবে,তাতে সন্দেহ নেই।” ব্রতচারীর কর্মপ্রয়াসকে অকুণ্ঠভাবে সমর্থন করলেন আচার্য প্রফুল্লচন্দ্র, জগদীশচন্দ্র, ডা.নীলরতন সরকার, গান্ধীজি,দিনেন্দ্রনাথ ঠাকুর, (বাংলার তৎকালীন মুখ্যমন্ত্রী ও শিক্ষামন্ত্রী ) এ কে ফজলুল হক প্রমুখ।গুরুসদয় তাঁর নিপুণভাবে প্রশিক্ষিত ব্রতচারী দল নিয়ে ভারতের নানা প্রদেশে এবং বিদেশে কয়েকটি অভি-প্রদর্শনী করে বিপুল সাড়া পেলেন।১৯৩৩ সালে বঙ্গদেশের তৎকালীন শারীর শিক্ষা অধিকর্তা মাধ্যমিক স্তরের পাঠক্রমে কিছু ব্রতচারী নৃত্যকে অন্তর্ভুক্ত করেন।ফলে বঙ্গদেশের প্রতিটি বিদ্যালয়ে ব্রতচারী চর্চা ছড়িয়ে পড়ে। বেশ কিছু শিশু কিশোরদের সংঘ, সমাজসেবী প্রতিষ্ঠান এবং ক্লাবও ব্রতচারী আন্দোলনের সঙ্গে নিজেদের যুক্ত করে। স্বাধীনতা উত্তরকালে আমাদের রাজ্যের বিদ্যালয়গুলির প্রাথমিক ও মাধ্যমিক স্তরে ব্রতচরী চর্চা বেশ কিছুকাল যথেষ্ঠ গুরুত্ব পায়। কিন্তু পরে শিক্ষা দপ্তর একে অনেকাংশে লঘু করে দেয়।’বাংলার ব্রতচারী সমিতি’ ছাড়াও গুরুজি ১৯২৫ সালে তাঁর প্রয়াত সহধর্মিণীর নামে নারীশক্তির জাগরণের জন্য গড়ে তোলেন ‘সরোজনলিনী নারী মঙ্গল সমিতি’।শহর ও গ্রামের প্রাপ্ত বয়স্ক নিরক্ষরদের মধ্যে জনশিক্ষা বিস্তারের জন্য আর্থিক সয়ায়তা করেন ‘বঙ্গীয় হিতসাধন মণ্ডলী” (BSSL), বিশ্বভারতীর পল্লী সংস্কার বিভাগ ইত্যাদি প্রতিষ্ঠানকে।বাংলায় জনশিক্ষার বহুমুখী কর্মকাণ্ড গড়ে তোলার জন্য তিনি নিজ ব্যয়ে ঠাকুরপুকুরে কেনেন ১০১ বিঘার এক বিশাল ক্ষেত্র।এই কর্মকাণ্ডে পূর্ণ সময় নিয়োগ করার জন্য তিনি চাকুরি ত্যাগ করেন ১৯৪০ সালের ১১ ডিসেম্বর। কিন্তু কর্কট রোগে আক্রান্ত হয়ে মাত্র ৪৯ বছর বয়সে বয়সে, ১৯৪১ সালের ২৫ জুন তিনি প্রয়াত হন।বাংলা ভাষা ও বাঙালি জাতিসত্তার জন্য আজও যারা প্রতিকূল পরিস্থিতিতে লড়াই করে যাচ্ছেন, তাদের কাছে গুরুসদয় দত্ত একজন মহান পথ- প্রদর্শক হিসাবে সর্বদাই স্মরণীয় হয়ে থাকবেন।।

NrityaChuramani Rahul Dev Mondal ( Assistant Professor, Rabindra Bharati University, Department of Dance  )

1.1 Introduction about Yoga / Yoga Definition

 Yoga is essentially a spiritual discipline based on an extremely subtle science that focuses on bringing harmony between mind and body. It is an art and science of healthy living. The word ‘Yoga’ is derived from the Sanskrit root ‘Yuj’, meaning ‘to Join’ or ‘to yoke’ or ‘to unite’. As per yogic scriptures, the practice of yoga leads to the union of individual consciousness with that of the universal consciousness, indicating a perfect harmony between the mind and body, man and nature. According to modern scientists, everything in the universe is just a manifestation of the same quantum firmament. One who experiences this oneness of existence is said to be in yoga and is termed as a yogi, having attained to a state of freedom referred to as ‘Mukti’, ‘nirvana’ or moksha’. Thus the aim of yoga is self-realization, to overcome all kinds of sufferings leading to ‘the state of liberation’ (Moksha) or ‘freedom’ (Kaivalya). Living with freedom from all walks of life, health, and harmony shall be the main objectives of yoga practice.

1.2 Introduction about Astanga Yoga

In Sanskrit “Ashta + anga” is ashtanga. “Ashta” means Eight and “Anga” is limbs so it means Eight Limb path, Ashtanga yoga is based on Yoga Philosophy of Patanjali. The asanas, Pranayamas, or the Dharana which we have studied earlier or the yam and niyam are based on the Yoga Sutras of Patanjali. Hence, we will acquaint ourselves with the fundamentals as stated by Patanjali first.

Ashtanga Yoga is the eight-limbed path of conscious living and spiritual practice that guides one towards Self-Knowledge, liberation, and cessation of personal suffering. It is presented in the Yoga Sutras which was compiled around 200 BCE by the great sage Patanjali.

1.3 The Eight Limbs are as follows:

1. Yama – Restraints
Ahimsa – non-violence
Satya – truthfulness
Asteya – non-stealing
Brahmacharya – sublimating sexual energy
Aparigraha – non greed

2. Niyama – Observances
Shaucha – purity within & without
Santosha – contentment
Tapas – discipline
Svadyaya – Self / scriptural study
Ishvarapranidana – surrender

3. Asana – Posture
4. Pranayama – Control of breath and prana
5. Pratyahara – Directing the senses inwards
6. Dharana – Concentration

7. Dhyana – Meditation

8. Samadhi – Unified consciousness yoga

 1.4  Chitta vritti nirodhah |

This means that yoga means controlling the thought waves of the mind. The thoughts, feelings, emotions arising in the mind are vrittis (nature), which should be controlled. This is called yoga. The broader perspective is expected and the word Chitta here means Individual consciousness, which covers all states conscious, sub conscious and unconscious.

While trying to control the vrittis (thoughts, emotions, feelings), certain disturbances are created which stop or divert the growth. Patanjali has addressed them as “Antaray(Disturbances) creating chitta vikshepa”. These are described as under :

Vyadhistyan sanshay pramad alasya virati bhranti darshanalabdha bhoomi katvanavsthitatvani chittavikshepasteantarayah |

1.5 Discus about  Physical ,Mental , Social & Spiritual Aspects in Astanga Yoga  :

Physical aspect – The important benefit of yoga is physical well being. The aging process, which is largely an artificial condition, caused mainly by autointoxication or self-poisoning, can be slowed down by practicing yoga. By keeping the body clean, flexible, and well-lubricated we can significantly reduce the catabolic process of cell deterioration. To get the maximum benefits of yoga one has to combine the practices of yogasanas, pranayama, and meditation. Regular practice of asanas, pranayama, and meditation can help such diverse ailments such as diabetes, blood pressure, digestive disorders, arthritis, varicose veins, and heart conditions. Laboratory tests have proved the yogi’s increased abilities of consciously controlling autonomic or involuntary functions, such as temperature, heartbeat, and blood pressure. Research into the effect of yogic practices on HIV is currently underway with promising results. According to medical scientists, yoga therapy is successful because of the balance created in the nervous and endocrine systems which directly influences all the other systems and organs of the body. Yoga acts both as a curative and preventive therapy. The very essence of yoga lies in attaining mental peace, improved concentration powers, a relaxed state of living, and harmony in relationships.

 Mental aspect: Many people who practice yoga speak of freeing the mind from mental disturbances ‘calming the spirit’ or ‘steadying the mind: Reduction of nervousness, irritability and confusion, depression and mental fatigue and some of the benefits experienced. Yoga is said to result in the reduction of a variety of mental ills. These may range all the way from vague feelings of frustration, persecution, insecurity, on the one hand, to acute and specific types of insanity, on the other. Yoga helps us to be relaxed and handle stressful situations more easily. It teaches us how to quiet the mind so we can focus our energy on where we want to go into a difficult yoga pose. It always encourages positive thoughts and self-acceptance.

Social aspect: Yoga impresses upon discarding violence and corruption which are the polluters of social life. Violence is intentional persecution whereas Ahimsa is its avoidance. Ahimsa is not the repudiation of ‘otherness’ but it is the sacrifice of that persecution which can be held valid in the presence of the other. Likewise, the truth being avoidance of deceit through gullible words is the execution of altruism through valid and secret words. Asteya in the form of avoidance of others’ possession and Aparigraha in the form of no amassing of the riches creates a social balance from an economic point of view. Out of these, the former indicates the wrongs of consumption without producing anything and the latter declares the hoarding, exploitation, and artificiality created scarcity to create an imbalance in the social life is improper. Thus these principles educate us to ‘produce more and accumulate less’ or ‘Maximum production and minimum profit’. Maitri, Karuna, Mriduta, and Upeksha which have been accepted in Patanjali’s yoga, can be implemented only in the social context and these feelings gradually soften the behavior towards commonly hard, hit people, progressive individuals and the enemies.

 Spiritual aspect – Yoga builds awareness of our body, feelings, the world around us, the needs of others. It promotes interdependence between mind, body, and spirit. Apart from the physical and psychological benefits of yoga the major impact of yoga on spiritual energy, self-consciousness, and mindfulness. Mindfulness refers to focusing our attention on what we are experiencing in the present movement without judging our self. The scientist has found that by regular practicing of Dhyana many parts of the brain got activated and release the neurotransmitters enzymes which increase mindfulness and mind awareness.

1.6Conclusion :

Yoga is a subject that can be looked at intellectually and some useful and beneficial ideas imbibed. Yoga can be imbibed by adopting certain attitudes which alter the nature of the samskaras. Yoga can be imbibed by living in an ashram environment and trying to be aware of the physical, mental, and spiritual dimensions at the same time. Yoga can be learned in a classroom environment as science, as psychology, as an applied subject, with the aim of providing new understanding and insight into the life process, into areas where karmas are performed, into areas which shape the inner being in terms of awareness, inner development, the experience of harmony or balance, eventually culminating in the experience of samadhi and the fullness of wisdom, prajna.

A state of yoga can be attained when wisdom is established. This has been the vision of the seers who brought forth Satyananda yoga. This yoga is presented in the form of a lifestyle, understanding and attitude. It is presented as an integral part of the day-to-day activities, of understanding one’s dharma and kartavya, obligations and responsibilities, and trying to see the whole world as one slowly evolving and unfolding unit.

Bibliography :

•        Gitananda Giri Swami, Ashtanga Yoga of Patanjali, Satya Press, Ananda Ashram, Pondicherry
• Gitananda Giri Swami. Mudras. Satya Press, Ananda Ashram, Pondichery.1975
• Gitananda Giri Swami. Yoga: Step By Step, Satya Press, Ananda Ashram, Pondicherry. 1970
• Hinduism Today July 1992.Yogi Playwright Infusing Indian Theatre With More Atma and Altruism.

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SUBHADRAKALYAN

The world of Indian cinema experienced a storming change with the arrival of Pather Panchali in the year 1955, directed by a student of fine arts at the Kalabhavan, Shantiniketan and a former worker at the British-run advertising agency, D.J. Keymar, Satyajit Ray, the only Indian filmmaker to win the Oscar. However, Ray’s cinema would continue to reflect his own insight and depth of his knowledge on literature, society, history of culture and many more such things that concerned a medium that would appeal most to the human beings. Pather Panchali was surely a revolutionary film in the field of Indian cinema, pertaining to the films made in the pre-Pather Panchali era and the subsequent four films that Ray made, such as Aparajito, Parash Pathar, Jalsaghar, Apur Sansar and Devi, held a strong foundation over the early 19^th century Bengal in varied dimensions. I distinctly omit Teen Kanya in the list, for, Ray has himself said, since the time of Teen Kanya, he himself would start scoring his films. Once again my inclusion of the point on the music of the films must be observed to be pertinent enough, for, Ray’s films would be incomplete without the music. The audience must be confused as to how much completely Ray could project the time he desired to show in his films, because, apart from the films, Pather Panchali, Aparajito, Parash Pathar and Apur Sansar, where Ravi Shankar scored the background, the other two, Jalsaghar and Devi were definitely an extravagant exhibition of Indian “classical” music by Vilayat Khan in the former and Ali Akbar Khan in the latter. I deliberately put the word “classical” within double inverted commas; and I am afraid, I will repeatedly do so, when I would particularly talk of it in the context of Indian music; because I never find the discrimination between the genres, demarcating between them basing upon social hierarchies, quite convincible. Ray has lamented upon the fact, both Vilayat Khan and Ali Akbar Khan would not comply with the demands of the film and make necessary measurements while scoring for the film. Ray also lamented on the fact, the maestros who all composed music for his films were not trained composers for which he would be in a grave trouble to fit their free-running music into his sequences. Ray has always maintained, the application of conventional Indian “classical” music in films is a waste of labor as the background music in most cases doesn’t have an independent identity as a piece of music. He believed, when conventional classicism imposed upon music is used in the music for a film as background music then the motif of the scenes seems to be less important as there is a diversion of focus and music gains more prominence thus compromising with the mood of the scenes it’s helping to be projected. Ray again proposed proposed, apart from the major direction, even if the director would not be actively involved into, editing or music-direction, the director must have the creative control over them. At some level, it could also be believed, the director understands best what tune can befit his shots and sequences, but on the contrary, not all film-directors are acquainted with music even in the least bit for which they could actually decipher the tune their shots and sequences could demand. Having been exposed to various forms of music, especially the classical music of the West, Ray found it easier to understand the adeptness and appropriateness of the application of his knowledge. The fantastic use of Gregorian Chants in the film, Shakha Prasakha, deserves a special mention for the particular application of such music on a particular scene could be explored in various angles. The discussion on that must be done some other time, for, now the focus must be on Ray’s musical concept in an entirety and not on any single aspect.

The readers must not be misguided with the notion; Ray was not much respectful towards Indian “classical” music. Ray always believed, the tradition of Indian “classical” music should be kept preserved, for, it was different from the visual art of the ancient India that exists in the carvings of the temples. Ray supported the concept of the evolution that had been taking place in Indian “classical” music and admired the innovative qualities of an individual artiste. Contradictory to his passionate love for Western classical music, he has admitted, in the West, it is not possible for an individual artiste to make improvisations thus keeping it restricted within the peripheries of the composition as perceived and designed by the composer, whereas, the scope for improvisation in Indian “classical” music allows individualistic interpretations of the phrases, leading to new establishments of the Oriental melodies. It must be mentioned, he himself did a sufficient use of Indian “classical” music in his films, Shatranj Ki Khiladi and Joy Baba Felunath, certain sequences in the films totally depending on the adeptness of Ray’s application of Indian “classical” music in them.

In spite of all this, Ray continued to believe, Indian music is non-filmic. He supports his belief with specific justifications when he says, the life of the Indians being much influenced by the colonial rule there is always a tendency to adapt to Western ways in them which heavily results in film-making, particularly when the story of the film is based upon urban life. The mixture that is significantly exposed in the ways of the Indians in the post-colonial era must be corresponded with music that is used in films projecting the post-colonial lifestyle of the Indians. It has already been mentioned, Ray would appropriately blend Oriental music with the Western one, whereas the former would be more prominent if the storyline would be set in a rural area and the latter in an urban one, Ray himself further making it quite clear, the more the plot of the story shifts from a rural background to an urban one, the less the director should use music.

Since Teen Kanya, Ray himself started scoring for his films, though he has spoken about his lack of confidence during the initial days of him as a composer. Judging the parameters of the kinds of films they were, Ray’s adeptness of applying music and his dexterity as a composer could not be questioned. For many musicologists and personally for me, the perfect juxtaposition of the Western concepts of symphonies with the Indian melodies with major scale, and the tremendously well designed introduction of chromatic keys within them thus leading to the formation of two layers of scales; one, major and the other, minor; with proper introduction and conclusion of the movements, was something he got from his experience of listening to music of the West. His absolute precision as exhibited in his compositions was much similar to the music from the Classical period; majorly the compositions of Mozart; when the compositions would mostly be homophonic using a clear melody line over a subordinate chordal accompaniment. The counterpoint, another convention followed during the romantic period, would surely be found in Ray’s music, adeptly translated by Indian musical instruments.

Even when we see Ray to have worked with the virtuosos of Indian “classical” music, Ray would apply certain pieces of music that would enrich their compositions. In one of his interviews, Ray has said to Pierre-André Boutang, in Jalsaghar, he suddenly figured out, the composer did not provide him with the right kind of music that he wanted. In order to fulfill the demands of the sequence, he turned to his collection of records and played a composition of Jean Sibelius backwards. It certainly did complete the sequence. What might astound the readers more is that Ray quite clearly figured out the appropriate composition of Sibelius to fit in contrast with the composition of Vilayat Khan the keys not clashing.

In order to discuss how Ray was initiated into the Western music, we must trace back to his days, when he would remain infatuated towards Beethoven, reading about him in the ‘Book of Knowledge’, admiring his esoteric behavior and infuriated attitude. He would never feel the music of the West to be “bizarre” or “exotic”; rather, it would be the music that he would find close to his heart[1]. Ray’s finding the Western tunes familiar might have arisen due to his exposure to Rabindrasangeet and Bramhasangeet, the latter much influenced by the music of the West once Jyotirindranath Tagore, a talented pianist from the Tagore family of Calcutta started contributing to them with his knowledge of the culture and ways of the West. Ray’s strong foundation of musical concepts was planted, not instilled, within him, from the childhood, for he has himself has said, he belonged to a musical family where all the members were natural singers and his grandfather, Upendra Kishore Roy Chowdhury, a prolific violinist, an exponent of the Pakhawaj and a composer. He would particularly mention his “discovering” Beethoven, at the age of eight or nine, listening to Beethoven being his first experience to the music of the West. On the music of eighteenth century Europe proper, he commented, he was much influenced by the dramatic development of a composition that would first be exercised by Beethoven. His journey to “discover” Beethoven would make him contemplate over the humane elements that he would find in Beethoven’s sonatas.[2] “It is valid to speak of a Beethoven symphony in terms of universal brotherhood, or man’s struggle against fate or the passionate outpourings of a soul in torment. Western classical music underwent a process of humanisation with the invention of the sonata form – with its masculine first subjects and feminine second subjects and their interweaving and progress through a series of dramatic key-changes, to a point of culmination,” Ray would say while describing his experience of listening to Beethoven with his refined intellect.[3] A few years later when he would listen to ‘Ein kleine Nachtmusik’, a composition by Mozart, he missed the abruptness; a result of the inclusion of dramatic elements in them; of Beethoven’s compositions in it.

Even later, when he watched One Hundred Men and a Girl by Henry Koster, where in the conclusive part, he recalls, ‘Exsultate, jubilate’ by Mozart would be presented; he was moved and was astonished. He certainly didn’t find the work of Mozart similar to the works of Beethoven, but loved it for it was “civilized” and “sophisticated”. Having heard Mozart for the first time, he was much interested to know more about Mozart and started collecting records of his symphonies and concertos. However, even up to a certain point of time, the difference between Mozart and Beethoven would bother him until he realized Mozart’s talent was “rangy”. Ray has also admitted his love for Mozart would grow more and more once he would be acquainted with his operas, namely, ‘Don Giovanni’, ‘The Magic Flute’ and ‘The Marriage of Figaro’. The symphonies that pushed Ray through the journey of his knowing Mozart were his last four symphonies, Symphony No. 38 in D major, K. 504, often referred to as ‘Prague’, Symphony No. 39 in E♭major, K. 543, Symphony No. 40 in G minor, K. 550, often referred to as ‘Great G minor’ and Symphony No. 41 in C major, K. 551, often referred to as ‘Jupiter’.[4] Mozart’s appeal to Ray could be considered surprising, for, as Richard Taruskin would rightly comment in the second volume of “The Oxford History of Western Music”, “…in case of a symphony there is no mediating ‘objectively’ rendered stage character; there is only the ‘subject persona’ evoked by the sounds of the music, easily (and under romanticism, conventionally) associated with the composer’s own person.” However, Taruskin further adds in a new sentence, “There is no hard evidence to support the view that Mozart’s music contains a romantic emotional self-portrait; there is just the widespread opinion of his contemporaries, and the supposition that the composer, late in life, may have subscribed to what was becoming a conventional code.” For again, I would say, the justifiability of Taruskin’s statements depends upon the relative interpretations of the readers.

Ray’s exposure to the music of the West would be so very much influential upon him that, he would carry with him certain records of his own choice during his days at the Kalabhavan, Shantiniketan. A young boy Ray would always keep himself busy listening to music while the other people of his generation would go to the libraries to read books or indulge themselves in writing poems. Ray’s friend at the Kalabhavan, Shantiniketan, the extraordinarily talented painter, Dinkar Kaushik; the one with whom Ray shared a fifty year long association; who too went there to learn fine arts, would be first introduced to the Western music, Ray initiating him into it. Dinkar Kaushik would be much accustomed to the Indian “classical” melodies, having experienced the concerts of Abdul Karim Khan, Alladiya Khan, Fayyaz Khan, Ramkrishna Bua Vaze, Sawai Gandharva and Vinayakrao Patwardhan as well as a flamboyant flautist. The exchange of musical ideas between Ray and Kaushik would surely help both of them to discover the correlation between music and the rest of the world. Ray would often provide Kaushik with explanation of various compositions from the West, the first one being the Pastoral Symphony of Beethoven. Ray’s comment, “Amazing! That sounds like a Bach Fugue!” upon hearing Kaushik’s colorful tunes on his flute, would be an honest expression of his acute amazement.[5]

Supriyo Mukhopadhyay, one of Ray’s friends from Shantiniketan, would recall, Ray would be a favorite of Dr. Alexander Aronson, a Jew, who would lecture at Shantiniketan. Ray would take interest in discussing Western culture with Dr. Aronson, their discussion involving literature, fine arts and music. Dr. Aronson being a pianist would carefully explain the intricacies of the instrument to Ray. During his stay at Shantiniketan as a student at the Kalabhavan, Ray would most often visit the residence of Mukhopadhyay carrying with him the records of Arturo Toscanini, Paderewski, Jascha Heifetz or Fritz Kreister and the two would pass time listening to music seriously introspecting and contemplating each movement. In accordance with the account provided by Supriyo Mukhopadhyay, it must be believed, Ray’s enthusiasm for music was definitely not ostentatious but modest. [6]

In this essay, having discussed Ray’s foundation of music, I will briefly discuss how he perceived music to apply it in his film.

Ray considered, the impact of a film and a music-concert had somewhat a same impact on an individual and of course both would be likewise influenced by the amount of time given to it, because, he believed, literature being a different experience for one as one could choose to read it in a continuous manner, or to read it in installments or to skip and read, watching films and listening to music involve a continuous time of a couple of hours. He has particularly drawn such a proposition indicating towards the limited time spans of the performances of Western music, for, time to present Indian music often depends on the mood of the artistes and the necessity of the art. Ray proposed, when one watches a film again within a limited span of time, one is bound to feel the rhythm and the tempo of the film that emerges from the time it involves, which one overlooks the first time one watches it but is slowly attracted towards it upon having the experience of watching it over and over again. This leads to a point when one never thinks the film in terms of the story it is based upon but of the tempo and rhythm it features.

The interpretation of music has been differently judged by Ray. He believed, music when heard independently, its interpretation is mostly a product of the perception of music whereas, music when applied to films must be interpreted in terms of the visual impact. He justified his proposition with the facts, when an individual makes a movement, particularly in case of actions concerning works, the visual impact bears a structured, rhythmic tempo, and again, when a group of individuals move, it has a differently arranged tempo. Particularly for Ray, when he would be at the preliminary stage of thinking of making a film just having chosen a plot, he would design certain musical modes that would roughly match with the plot. The structure of the music being at its infancy would help the plot and the music itself to develop together slowly leading to a perfect formation of both. The beginning, the ending or the speed of the entire film would depend upon the movements of the music, both the film and the music complementing one another. The music would be even more perfectly applied during the time of shot-division, and would finally befit the entire film when it would be edited.

Ray would further continue his argument stating the fact, music as an independent form of art would differ from the kind of music applied to film as, independently heard music has a perfect cyclic count of the beats whereas, the music to films are what I previously said, “free-running” without a proper count of the beats. However, the music to films being entirely dependent upon the movements of the films has to be approached considering it in a holistic manner without demarcating between the genres wasting time and labor.

In the context of the comparative study between independent music and music applied to films, I feel, it’s necessary that I discuss how much of the necessity of music, if in any way, overpowers the intent of music. When Ray believes, the relativity of the interpretation of music to films clearly depends upon the visual impact of the films, it means, at some level, the art of music that has had a particular intent of appeasing the pleasures of the elite society since the early 13^th century when; as a school of history has repeatedly suggested; India would be taken over by the Islamic rulers, has itself been translated to a necessity with the passage of time since then. If it is to be considered, the intent of music was a mixed purpose of communication and entertainment, then the communication would come before entertainment up to the 12^th century in India, and a century later, the purpose of entertainment would overpower the one of communication, art being used as a device, thus leading to the emergence of popular culture, making rooms for political subversions and social hierarchies within it. A different school of history though suggests an altogether different hypothesis from where it could be easily derived, the origin of music varied from places to places and from communities to communities, pertaining to the socio-economic factors prevalent during such times, thus leading to the birth of an altogether different tradition. We must remember, the necessity of music came into being once the musicians faced an economic crisis which finally compelled to take music as a profession – a practice adequately supported and patronized by the people of the upper-class. The two hypotheses seem similar because, the two beliefs come to a somewhat same point. I leave the judgment on the relative interpretations of the readers. Histories being orally spread over generations particularly in India the facts above demand further verification with advancement in time when even more justifiable hypotheses could be derived with the availability of various newer pieces of information and the subsequent documents proving them. However, the intent being compromised has faced an evolution with time where in its maturation it’s only a need and not an experience for many. The necessity comes after the intent, when it might be justly argued, applying music complying with the necessity helps music to be functional and easy for better communication. Application of music in films provides the audience with an added experience of music when they are completely unaware of the very existence of it judging in terms of the defined conventions and are just being communicated to the aim of projection of life, something Ray’s cinema adequately features.

Ray has implemented his knowledge on music into his stupendous work of composing the background music. Though it has been suggested by Ray, the use of background music is more a necessity than any other aspect of it, for, “one has an audience in mind and one is always afraid that a certain change of mode will not be perceptible unless it is underlined by music” and “ideally one should be able to do without music”; the quoted phrases being from one of Ray’s interview to Pierre-André Boutang; Ray further suggesting the use of natural sounds and applying them creatively as the background music, Ray’s utmost expertise in this field would be most known by the kind of background music he would design for his films. The history suggests, in the past when silent films would be screened in the cinema houses, organ players would be rented to play the tune that could befit the scenes of the films. This had a major problem when different organ players would play different tunes according to their own perceptions of the sequences they would see on the celluloid. However, David Wark Griffith did not like such an idea and fixed certain musical pieces for his films and notated them for the conductor to conduct the orchestra. The pieces would not be original; Griffith would select parts of the compositions of Mozart or Beethoven. With the arrival of the talkies in Hollywood, the above formula started to be modified according to the demands of the films. Both in Hollywood and in the East that the dialogues were not to be overpowered by the excessive use of background music would always be believed by Ray. On the contrary he has mentioned, the background music is unable to complete a film if it is technically incomplete. The excess application of typed melodies would not enhance the type of emotion the director wanted to project and finally couldn’t, but only reduce the significance of such sequences furthermore. Ray was quite evidently against the conventional application of “happy music” in the sequences that bore a mood of pleasantness, “sad music” in the one that projected tragedies, an onomatopoeic “crash” in the ones that had sudden theatrical contradictions and “suspense music” in the ones that created tension within the minds of the audience. He always maintained his nature of being tremendously balanced and measured in his creations – be it films or music.[7]

Ray has particularly mentioned his works on music in the films, Kanchenjungha and Mahanagar, where it would be a challenge for him to mix the diverse moods of two different layers in each of the films. The contrast of the Anglicism and the lives in the Himalayan terrain, as projected in Kanchenjungha, would be perfectly complemented with music that comprised of certain modifications of the local folk music proficiently played by individual instruments of both parts of the world and translated into the concept of orchestration.

In Mahanagar, the challenges that Ray is said to have faced is again between the two layers of the plot of the film. The major female protagonist belonging to a lower middle-class family would be projected out in the city amidst the sophistication it bears parallel to the inner conflicts and contradictions of her. The sub-plot comprising of the ageing father also adds to the entire development of the story. Ray somewhere felt, the application of excessive background music would only hamper the concentration of the audience, but he finally complied with the theatrical mood of the film.

The most significant of the films of Ray where music plays a great part; apart from the films, Goopy Gyne Bagha Byne or Hirak Rajar Deshe; is the short film, Two. A major part of the music that Ray uses comprises of a flute playing with a chordal accompaniment provided by the Piano, probably played by Ray himself, clearly bears the shadow of the first movement of Mozart’s ‘Ein klein Nachtmusik’. However, the other flute played by the street-kid on screen bears an altogether different significance – the elaborated discussion done earlier in this essay, on Ray’s thought of applying music with respect to the projection of social stratification on screen, could be referred to in this context.

Ray’s unconventionalism in the field of composing music for his films has been a pathway to follow for many music directors that came after his time, though not everybody succeeded in fulfilling the purpose of music using it to a film. His understanding of music took his creations to a different level where it would be flawless, though not at all adhering to the convention mentioned above. Even in case of Ray composing songs for his films; a huge subject to be discussed in my next essays; he would be properly precise not using music as a device to present an exaggerated version of what he has wanted to propagate to people through his music. Ray’s music, not melodramatic; balanced, not exuberant; and functional, not decorative, has given the aura of the personality a different dimension with added glamour – something the other film directors of India contemporary to him and following him always admired to possess.

It would be most appropriate to conclude with Ray’s own words on how he finally puts his ideas on music to his films that ultimately culminates into a perfect juxtaposition of the two arts. Ray says, “I get my ideas fairly quickly – sometimes as early as in the scenario stage. I jot them down as they come. Usually they come clothed in a certain orchestral colour, and I make a note of that too. But the actual work of scoring has to wait until I am through with everything else, including final cutting.

“Of all the stages of film making, I find it is the orchestration of the music that needs my greatest concentration. The task may be lightened when I have acquired more fluency in scoring. At the moment, it is still a painstaking process.

“But the pleasure of finding out that the music sounds as you had imagined it would, more than compensates for the hard work that goes into it. The final pleasure, of course, is in finding out that it not only sounds right but is also right for the scene for which it was meant.” [8]

References:

1. Satyajit Ray, PRABANDHA SANGRAHA, (Kolkata: Ananda Publishers Pvt. Ltd.), pp. 396-397
2. Satyajit Ray, PRABANDHA SANGRAHA, (Kolkata: Ananda Publishers Pvt. Ltd.), pp. 396-397
3. Satyajit Ray, OUR FILMS THEIR FILMS, (Hyderabad: Orient Blackswan Private Limited), pp. 49-50
4. Satyajit Ray, PRABANDHA SANGRAHA, (Kolkata: Ananda Publishers Pvt. Ltd.), pp. 396-397
5. Amitrasudan Bhattacharya, AAK DURLAV MANIK, (Kolkata: Ananda Publishers Pvt. Ltd.) pp. 27-30
6. Amitrasudan Bhattacharya, AAK DURLAV MANIK, (Kolkata: Ananda Publishers Pvt. Ltd.) pp. 27-30
7. Satyajit Ray, PRABANDHA SANGRAHA, (Kolkata: Ananda Publishers Pvt. Ltd.), pp. 70-71
8. Satyajit Ray, OUR FILMS THEIR FILMS, (Hyderabad: Orient Blackswan Private Limited), pp. 70-71

Bibliography:

1. Ray, Sandip (ed.), SATYAJIT RAY: SAKSHATKAR SAMAGRA, Kolkata: Patra Bharati, February 2020
2. Ray, Satyajit, PRABANDHA SANGRAHA, Kolkata: Ananda Publishers Pvt. Ltd., September 2016
3. Ray, Satyajit, OUR FILMS THEIR FILMS, Hyderabad: Orient Blackswan Private Limited, 2018
4. Bhattacharya, Amitrasudan, AAK DURLAV MANIK, Kolkata: Ananda Publishers Pvt. Ltd., January 2014
5. Chakravarti, Sudhir, BANGLA FILMER GAAN O SATYAJIT ROY, Kolkata: Gangchil, January 2016
6. Taruskin, Richard, THE OXFORD HISTORY OF WESTERN MUSIC, New York: Oxford University Press, Inc.