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Home , Ambikagiri Raichoudhury, Benudhar Rajkhowa, Bishnu Prasad Rabha, Borgeet, Chandra Kumar Agarwala, Kalita (caste)

International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______The Evolution of Assamese Songs: A Cursory Inquest

1Dr. Sikhamoni Konwar , 2Dr. Anup Kumar Deka Principal, Karmashree Hiteswar College1 Assistant Professor , Department of English, Karmashree Hiteswar Saikia College2 , , India1,2

ABSTRACT : Assamese song has got a glorious history of more than twelve hundred years starting from the Charya geet of 8th century to the grand numbers of Bhupen of 21st century. The entire journey of Assamese song is enlightened and enriched with the great like Sankardeva and Madhabdeva with their Borgeet ; the ushers like Satyanath , Padma Nath Gohain Baruah, Nalinibala Devi, , Laxmi Nath Bezbaruah; and the harbingers of modernity like Jyotiprasad Agarwala and Bishnu Rabha. Over the ages Assamese songs and music have gone through different phases of evolution and transformation marked by the national, humanitarian and aesthetic spirit of the . And now the Assamese songs have broken the confinement of time and place, and claimed a universal pedestal. Keywords: Assamese song, Borgeet, Folk songs, Lyricists, Ojapali. ______I.Introduction: The development of Assamese song can be traced back to in terms of the fact that they were the first written specimens of Assamese song and literature. were written between 8th and 12th century under the influence of . The first illustration of can be found in the Charya geet of Buddhist Sahajani Monk. [1]. Referring to the Charya geet Dr. Banikanta Kakoti says, ―Certain phonological and morphological peculiarities registered in the Buddha Dohas have come down in an unbroken continuity through early to …modern Assamese in certain respects shows a closer approximation to the forms and idioms preserved in Dohas‖ [2] . Charyapadas were technically better composed and thematically more sublime. Through we don‘t know much about the musical notation and features of ‗Charyapada‘, yet its external texture is equivalent to the Borgeet and other lyrical composition of its class in the later period[1]. Lui Pa, a Buddhist Monk, used ―Patmanjari ‖ in his first song. Despite being thematically profound and complex, the texts of Charyapadas have got exquisite musical touch. II.Discussion: After Charyapada the musical trends of Ojāpāli is worth reckoning. During the period between the later half of 15th and the first half 16th century there emerged a number of poets (Pitamber Kabi, Durgabar Mankar and Xukabi Narayan Dev were prominent among them) who were not much influenced by the Vaishnavite movement.The theme and the style of their composition also did not imbibe any trace of Vishnavite ideology. The literature by those poets may be called Pānchāli or Ojāpāli. In Ojāpāli there are five singers and musicians. Its song also got five parts- Malita, Rag, Diha, Bana and Thoka[3]. The Raga used in Ojāpāli bears the proof of the practice of Raga music even before the emergence of Sankardeva (the pioneer of Vaishnavite movement in Assam).

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______But the oldest trend of music that overwhelms the people‘s mind and soul over the ages, that takes listeners to the utmost spiritual depth, that enchants them with its divine tone is Borgeet. Borgeets are acknowledged to be that special trends of song and music pioneered by Sankaradeva. It is said that Sankaradeva wrote his first Borgeet ‗Man Meri Ram Saranahi Lagu‘ in Badarikashram during his first pilgrimage .Following the foot step of his Guru Sankardeva, Madhavdeva earnestly tried to spread the spirit of Bhakti through his Borgeets among the common people. Borgeet has its own unique spiritual divine-melody, fertile self revealing diction and very magnanimous sublime thought and theme. Banikanta Kakoti, Kaliram Medhi etc. scholars has termed Borgeet as Songs Celestial, Noble Numbers because of its spiritual greatness and sublimity[4].

The post-Sankardeva period was a latent period. Satyendranath Sarma said that during that period nothing new is noticed in the composition of songs and dramas [3]. There is a long stagnancy further lulled by social and political turmoil. And it resulted in a radical social change. Assamese society and culture got shrunk under the oppression of the British Empire. There was an utterly changed atmosphere. Assamese song and literature sank into oblivion and Bengali songs and music started to make its presence felt. Bengali Khemta song, Nidhibabu‘s Tappa and the songs of Shyamlal and Dwijendralal were getting popular. Even the most pioneering Assamese personality like brought Bengali artists to perform in a marriage ceremony at his place[5][6] .

Satyanath Bora in the year 1888 made an attempt to revive the Assamese song with the publication of his collection of songs Geetawali. However, his songs did not have much to offer in terms of poignant thought and expression. From 1888 to about 1928 people like Satyanath Bora, Lakhiram Baruah, Bhakat Ram Choudhury, , Padmadhar Chaliha, Durlav Chandra Daroga etc. tried their every way to revive the Assamese song. Satya Nath Bora‘s Geetawali was an effort to put an end to the dominance of Bengali song in the state. In the introduction to Geetawali Mr. Bora said that this work of his was an endeavour to retrieve and reinstate the lost past glory of the Assamese song In the year 1924 Prafulla Baruah got four Assamese songs recorded by HMV Gramophone Company in . All the songs were sung by Mr. Baruah himself. It was the first of its kind in the history of Assamese song.

In the mean time, people like Padma Nath Gohain Baruah, Nalinibala Devi, Chandra Kumar Agarwala and Laxmi Nath Bezbaruah put their best effort in composing Assamese song. Their works really infused life and force into it. Especially the songs by Laxmi Nath Bezbaruah own the peoples heart and soul. In addition to Bezbaruah‘s national song ‗O Mor Āpunār Dex…‘ the other five songs are popular even today. They are ---‗Prem Prem buli‘, ‗Parbator Dhekiā‘, ‗Lorā Burhā Kāk Kai, ‗Xakhi He Kikame Dukhare Kathā‟, ‗Kone No Bajāise Bāhi‘. Bezbaruah was a composer of great caliber. The following extract from his song ‗Lorā Burhā Kāk Kai‘ is an example enough of his thought and excellence:

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______― Purani Ākāx Phulām Tarāre Lorāt Koio Lorā Purani Prithibi Phutuki Phulare Tāt Koi Je Sarā‖ Here, Bezbaruah has achieved great depth of thought with so common place diction, images and tone. With great musicality and ease he juxtaposed the ―old past‖ and ―the new present‖-the bright and colorful present is in fact rooted in grand and expansive past. Thus, in a very soft yet convincing tone and style Bezbaruah welcomes the new. Bezbaruah also wrote a few songs which has got close proximity to the folk songs and ballads in terms of style and tone. In this respect, citation can be made of his song on historical character Badan Barphukan who invited in Maan (The Burmese) to invade the state of Assam:

―Kiyano Ānili Manoi Badan Toy, Kiyono Ānili Māān? Jāuti Jugaloi Khyāti Rākhili, Katāli Axamar Kān. Xonare Axamat Dakāit Meli Dili, Nandanat Melili Hāti. Bargharar Majiyāt Fetigom Erili, Bhardupariā Rāti”

This song also gives vent to his passionate patriotic spirit. Besides this type of song, Bezbaruah wrote some so musically rhythmic and melodious poem that they are better sung than read. In the latter period they are further enriched with great musical notation by some able singers and composers. Of them ‗Eketi Xurat Bāhiti Bāndhā‟ ; ‗Prem Prem Buli Jagat Ghurilo‟ ; ‗Koi Jowā Dākowāl Khoj Kiya Kobal‟ etc. are the songs which are musically composed and sung by . Anandi Ram Das is another important name who made special contribution towards enriching the course of Assamese song with his Bon-geet. His application of pure Assamese words and common expression had reasserted the possibilities and potentialities of Assamese language in musical composition. His songs like ‗Keko Bāo Keko Bāo Keko Kile Sore‟; ‗Upaja Xonar O‟ etc. are reflection of his experimentations with tones and words of native common folk. These songs bear a pastoral touch in their music, diction and thought. It was a new facet in the Assamese song. Love and nature were the primary themes of the Bongeets. Anandi Ram Das was honoured with the title Bon Knowar by the . Kamala Nanda Bhattacharyya, Kritinath Sarma Bardoloi and Purusuttam Das were also the personalities making contribution in this direction.

After 1920 there are many poets and lyricists who had taken to writing and composing songs. With regards to the writing of patriotic songs, Ambikagiri Raichoudhury, Padmadhar Chaliha and Umesh Ch. Choudhury had curved a niche. Most of the songs by Ambikagiri Raichoudhury are result of his deep rooted love for his country and his vehement desire for social change. As a social reformer his ‗Dhar Jaru Dhar Bhāi‟ is always remembered by the people of the state. His another song ‗Bando ki Chandere‘ was the opening song of Pandu Congress convention. According to Atul ch. Hazarika this is one of the five best national songs

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______of Assam (Das, Jogesh; Kakati, SatishCh.; Ali, Tafajjul; , Ram[ed]: An article by Atul Ch. Hazarika: 1986:10).

In the early 20th century there was a sense of utter disdain among the Assamese people for their local songs and music. Instead, they started to be increasingly inclined towards and interested in Bengali songs. In this period of decadence in Assamese songs and music, Jyotiprasad Agarwala came out as an audacious crusader to lead Assamese music out of its dwindled state to the glorious height of prominence and popularity. During the last part of 19th Century and the first three decades of 20th century Assamese folk songs and music got enlivened in the hands of Jyotiprasad Agarwala. Assamese music took a new course with the mingling and blending of the folk melodies with that of the modern. In this regard he has been helped by the concept of Indian and western music [3] Jyotiprasad wrote the play Xonitknowari in the juncture between his adolescence and adulthood, and with this work he brought ripple in the field of Assamese song. In this epoch making play Jyotiprasad gave a new musical touch to Assamese local Bia Nam (Marriage song), Ai Nam, Bongeet, Bihugeet etc. Because of the originality and uniqueness his songs are given an independent status as Jyoti Sangeet.

The discussion on the revolution in the field of Assamese songs and music will remain incomplete without acknowledging the contribution of Bishnu Prasad Rabha. He was a close associate of Jyotiprasad Agarwala. In terms of his musical composition Bishnu Rabha‘s ideology was in the same line of Jyotiprasad. He has got vast knowledge of not only tribal and non-tribal folk songs but also Indian and western classical songs and music. With his own distinction and thought Rabha has composed the evergreen and ever-thrilling songs like „Biswar Chande Chande‟, „Xurare Deulare‟, „Axaomiya Deka Dal‟ etc. Jyoti–Bishnu‘s another notable contribution is their patriotic song. They have raised a new tide in this field. Bishnu Rabha sang with ardent passion and love for country--

―Āi Mor Bhārati Janani Lakhimi Dukhani Bhāratbāsi Hridayare Rām Mor Parānar Mor Jibanar Senehi Gokhāni‖

After Jyotiprasad and Bishnu Rabha the name of Parvati Prasad Baruah can be counted as a great contributor to rich repertoire of Assamese song. His songs with the influence and touch of Rabindra Music have raised a new wave in the course of Assamese song. (Hazarika, Lakhi [ed]: A article by Dilip Bora: 1992:6). Like Rabindra Nath, Parvati Prasad also sings for light, for autumn, for spiritual mysticism, for human sense of alienation and so on: i. ―Ore Rāti Andhāharat Athabā Āsile Mor Duwār Bondha www. ijirssc.in Page 172

International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______Kone Āhi Dile Meli Xonar Pohar Dile Dhāli? Ki Ānanda Ki Ānanda ?‖ -Parvatiprasad ii. ―Ākas Tale Uthal Fute Ālor Satadal … Ālo, Tomāi, Nāmi” --Rabindra Nath ,Geetanjali Though Parvati Prasad got influenced by the great Rabindra Nath, yet, he maintains close touch with simple Assamese tones and dictions in his songs[7]. In fact, his songs were a little experimentation with Bongeet and Rabindra-Sangeet. Thus he opened a new dimension in the idea and perception of Assamese music.

The musical course lead by Parvati Prasad got its totality in the hand of Rudra Baruah. Infact, this particular course of music had been set forth by Anandiram Das. His song was in the same scale of geet where soft ‗Ga‘ and soft ―ni‖ are always in use. Parvati Prasad had brought some novelty to that. But Rudra Baruah has broken Anandiram‘s monotony of tone and music. (Hazarika,Lakhi[ed]: A article by Dilip Bora:1992:6) Rudra Baruah‘s song not only reflects the picture of rustic life, but also adroitly captures its toil and struggle. Rudra Baruah‘s contemporary Brajen Baruah was also a famous composer to be recognized. In his musical composition there was influence of both classical and local songs and music. In contrast to the prevalent tune of that period, Baruah‘s tune was unconventional in style and new in form in songs like ‗Āji Barasā Rāt‟, ‗Thamaki Narabi Durar Pathik‘, ‗Chanda Bharā Mor Gaan‘ etc.

During almost the same period Kirti Nath Sarma Bordoloi also contributed immensely towards the course of Assamese music. He added musical note and tone in the songs of Benudhar Rajkhowa, Padmadhar Chaliha etc. and made them popular through theatre performances and public sitting. He composed music on the basis of Hindustani Raag and Taala. But his speciality was to use traditional local music and tone in modern song. He carefully studies the musical notes of the local songs like Biyaha, Sukananni, Durgabari etc. and gave them a new modern touch. His two books Xur Parichai (1928) and Kamrupiya Lokageet (1937) bears ample proof of his deep knowledge and original thought in the field of music.

During the forties, the eminent composers who enriched the Assamese culture with their songs were Nabin Chandra Bordoloi (famous song- Deka Gābharur Dal), Mitradev Mahanta famouse song –Sira Senehi Mor Bhākhā Janani) Kamalananda Bhattacharya (famous song—Bilat Tirabirāi Padumar Pāhi) etc. Geeti- Kabi Parvati Prasad Baruah also wrote some famous songs which included ‗Nobulu Tok Sonar Akham Mātir Akham Āi‟, ‗Luitar Chāparit Kore Nāoriyā‘, ‗Tor Nāije Bandhowā Bāt‘ etc.

Emergence of Bhupen Hazarika in the field of Assamese songs and music was really an epoch-making phenomenon. He has brought about a radical change in it with his all unique and distinctive songs starting from songs like ‗Kusumbarar Putra Shree Sankarguruwe Dharisil

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______Nāmare Tan‘ and ‗Agni Jugar Phiringati Moi‘ to ‗Bristrnapārare Akangkhyajanare‘ and ‗Xāgar Xangamat Katanā Xāturilo‘. In his songs, nature, man, country, nation, love, social harmony, revolution and change are reflected in full life and spirit. While his songs like ‗Xāgar Xangamat‘, ‗Āgni Jugar Phiringati Moi‘, ‗Dolā, He Dolā‘, ‗Mānuhe Mānuhar Bābe‟, ‗Atitar Buranji‘ etc. songs are dipped in intense sense of humanity, his other songs like ‗Kāzirangā, Kāzirangā‘, ‗Kapili Kapili‘ etc. present the picture of nature. Again while songs like ‗Āmi Akhamiyā Nahau Dukhiyā‘ bear the thread of integrity, ‗Bimurat Mor Nikhāti‟, ‗Snehe Āmār Sata Srāwanar‟, ‗Kija Tumār Xanga Priyā‟, ‗Tumār Ukhā Kahowā Komal‟ etc. are spontaneous overflow of powerful passionate feelings. He has further established the course of Assamese song in a much firm and solid ground. His songs are wide spread in thought and music and are resplendent with colours of life and society. Yet they are deeply rooted in Assam and its people. In Bhupen Hazarika people find the prodigy who carries forth the legacy of Jyoti Prasad and Bishnu Rabha. He says, ―from Jyoti Prasad I have received very decent aesthetic sense and from Bishnu Rabha the courage to have folk culture as a tool of mass media‖ (Hazarika, Surja Kanta [ed]: 2008:0.3). Bhupen Hazarika has taken Assamese song to a remarkable aesthetic height. In composition of tune he is second to none. The subject matter of his songs is the bearer of the conscience and spirit of the time, the thoughts and language of his songs has got extraordinary aesthetic value.

With the establishment of Guwahati Radio centre on 1st July 1948 a constellation of a singer and composers appeared in the field Assamese songs and music. Their hard work and dedication had really further enriched Assamese songs with new tones and flowers. To name a few of them were Tafazul Ali, Lakhyahira Das, Birendra Nath Dutta, Jyotirmay Kakoti, Keshab Mahanta, Nirmal Prabha Bardoloi etc.

Tafazzul Ali‘s songs are written in three volumes –Anustup(1962), Mandakranta (1957) and Aghari Kakaideor Geet (1959). Ali‘s songs are very poignant in the feeling they contain. Thoughts from the heart‘s core, the pains and pleasure, the smiles and tears, the failures and dejections are the primary themes of his songs, yet he has never forgotten the society around and the wide world. Ali‘s style of compositions bears a unique beauty.

His contemporary Lakhya Hira Das also made her audience spell-bound with songs like ‗Endhār Jugar Dipsikhā Mai‘, ‗Udayar Pathe Ringiyāi Māte‘, ‗Bijan Pārat Gām Geet Mai‘, „Tumi Kon Saragar Parimal‟ etc. She has contributed to the advancement of Assamese song with her seven volumes of songs—Prathama(1950), Xur Xetu (1956), Geetarghya (1956), Mayurpankhi (1968), Antargat Nadi(1979), O Mor Sikuni Dekh(1980) and Lakhyahirar Get (1989). Bhupen Hazarika , Manna Dey, Chinmoy Lahiri, Anup Ghosal etc. great singer won people‘s heart by singing her song.

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______Keshab Mahanta with his three volumes of songs --- ‗Rod Jikimiki‟ (1960), ‗Kuwali Ātari Jā‟ (1964) and ‗Dikh Dhāwali Baran‘ (1979) has contributed remarkably to the course of Assamese songs. In his song there is always a flavour of music of rustic life. His songs are, in fact, poems confined in musical notes and tunes. He earns his fame with songs like-

i. ―Ei Jon Jonāli Thupi Thupi Tarāli Jali Jali Jalāli Mane Kāk Nedekhi Bināi‖ ii. ―Xile Xile Thekā Khālev Nizarāre Pāni Eserengā Rangā Rode Rang Dile Xāni‖

Another name in the world of Assamese music that still reigns the peoples‘ hearts is Dipali Borthakur. In the mellifluous voice of hers there started a spirited course of Assamese song. As a singer she sang songs composed by different lyricists. Most of the songs by Dipali Borthakur were written by Nirmalprabha Bordoloi. Both of them can take the pride of contributing some all time great numbers to the field of Assamese song—e.g. „Āgali Kalapāt Lare Ki Sare‟, „Xonar Khāru Nālāge Mok‟, „Xonowāli Butā Basā Axomiā Pāt, „Aag Phagunar Baa Sāti‟, „Nālāge Bāhir Xuwani‟, „Āi Moi Xuniso Āghonate Bole Pātisa Toi Mor Biyā‟ etc. Another great singer and musician of Assam Jayanta Hazarika also lent his beautiful touching voice to the songs of Nirmalprabha. Her first song which was given tune by Jayanta Hazarika was ‗Āgali Batahe Kapāle Kalare Pāt‟, Mon Uraniā Herāle Bātare Aat‟ Nabakanta Baruah is another name enriching the world of Assamese song. During the 1960s he came up with his volume of song ‗Manar Khabar‟. In one single song he can express both the general message at the surface and the deep meaning underneath. Nabakanta Baruah has brought special distinction to Assamese music. He will always remain immortal with his songs like ‗Pālone Nepālo Nuxudhibā Mok‟, „Ākāx Āmāk Akani Ākāx Diyā‟, „Tomār Kārane Jāo Phul Tulibale‟, „Bagali E Bagā Phot Di Jā‟, „Kone Āji Ābeli‟, „Mai Eti Dinar Jonāki‟ etc. The lyricist Hiren Bhattacharya curved niche for himself with his lyrics which are sung and popularize by noted singers like Ramen Baruah, Jayanta Hazarika and in the latter period, Birendranath Dutta. In 1960 Hiren Bhattacharya brought out his 1st collection of songs „Xonali Xāko‟ followed by ‗Tomār Bāhi‟ (1976) and ‗Tomār Gaan‟(1978). His songs are specially marked for their expression of soul‘s pain as in i. “Bandhu Meli De Tor Dukhar Dukhani Hāt Ebār Jirāo Tor Bukur Xital Saat” ii. “Rāti Bāhi Bāi Kone Mok Kanduāi”

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______iii. “Bātaruwā Hera Nabajābi Tor Bāhi” In this long course of Assamese song and music there are many more contributors who kept the flow moving. They have settled permanently in the mind of the audience with some all time great numbers in terms of their musical, literary and thematic value. In this regard Malin Bora‘s ‗Imān Dhuniā Mukutār Mālā‘, Mukul Baruah‘s ‗Aai Tok Kihere Pujim E‘, Ganesh Gogoi‘s ‗Mātri Pujāt Helā Nakaribā‘,Kamala Kanta Bhattacharya‘s ‗Bilat Tirebirai Padumar Pāhi Oi‘, Eli Ahmed‘s ‗Gā Gā Āji Gāi Jā‖, Surja Das‘s ‗Āmāk Xamoie Xikāle‘, Hemanta Dutta‘s ‗Moi Ji Olālo Āji‘, Akhil Chakraborty‘s ‗Uduli Muduli Ei Nātghar‘, Apuraba Bezbaruah‘s ‗Sāh Gasar Komal Pātat‘, Lohindra Kumar Siakia‘s ‗Kanmāni Xei Bhanti Jani‘, Hemanta Goswami‘s ‗Rimjim Barakhun Parisil‘, Dwijendra Mohan Sarmah‘s ‗Jilmil Jon Jale Kapālat‘, Praphulla Bora‘s ‗Lāz Kiya Lāge Saku Kiya Kape?‘ Charu Gohain‘s ‗Bahāgate Āhibi Senāi Oi‖, Jiten Deka‘s ‗Mor Xukulā Ghorā‘, Subir Mukharjee‘s ‗Xagarikā Kino Kolā‟, Jayanta Baruah‘s ‗Ei Khani Gāon Buku Āpun‘ Loknath Goswami‘s ‗Moghāi Bule Dholar Māt‘ Etc. are the songs which have always been occupying the heart and soul of the Assamese people.

In the following period, as the horizon of Assamese song is farther expanded, there appeared a host of new lyricists. To name some of them are- Prabhat Hazarika, Jimani Choudhury, Ratna Lahkar, Lohit Kakoti, Prafulla Nath, Asok Das, Anupama Das, Moloya Gogoi, Avanti Pamegam, Idul Ali Ahmed, Gopi Tamuli, Mahendra Hazarika, Manju Dutta Baruah, Pankajananda, Hem Saikia, Mrinal Choudhury, Biren Gohain, Karabi Deka Hazarika, Birinchi Medhi, Rubi Singh, Surjya Hazarika, Mahendra Bora, Hiren Gohain, Dasarath Das, Anil Phukan, Babul Das, Arup Borthukur, Sadananda Gogoi, Anuradha Das, Jatin Bora, Umesh Dutta, Prabin Saikia, Lakhyeswar Borgohain etc.

During the 1990s some eminent singers and lyricists like Angarag Mahanta, Zubin Garg, Jitul Sonowal, Bidyasagar, Diganta , Prasanta Bordoloi, Gunamani Bora, Vijoy Bhuyan, Anil Saikia, and many more. In their songs there are marked fusions of oriental and occidental music. Some songs have received much acclamation from the people. Songs like Manjotshna Mahanta‘s ‗Bahudin Xunā Nāi Jiyāa Xile Kathā Kowā‘ (Lyric by Keshab Mahanta); Anindita Pal‘s ‗Kor Ejāk Xopon Jen Barakhun‘ (Lyric: Bhabendranath Saikia; Tune: Zubeen Garg) Zubeen Garg‘s ‗Andhār Habo Nowaru/ Masi Diba Nukhuju‟ And Angarag Mahanta‘s ‗Mor Mon Urigusi Jāi‘ have really been received by the audience with much delight.

III.Conclusion:

Over the ages Assamese songs and music have gone through different phases of evolution and transformation marked by the national, humanitarian and aesthetic spirit of the Assamese people. And now the Assamese songs have broken the confinement of time and place, and claimed a universal pedestal.

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International Journal of Interdisciplinary Research in Science Society and Culture(IJIRSSC) Vol: 1, No.:1, 2015 ISSN 2395-4335, © IJIRSSC www. ijirssc.in ______-______

Reference: [1] Neog, Maheswar.(1958): Asamiya Giti-Sahitya, Janata Book Stall, . [2] Kakoti, Banikanta(1995):Assamese: Its Formation and Development, LBS Publication,Guwahati. [3] Sarma, Satyendranath [ed](1986): Jyotiprasad Rachanavali, Assam Prakashan Parishad,Guwahati, . [4] Dutta, Birendranath(2001):Asamiya Sangitar Aitihya, , . [5] Hazarika, Lakhi, [ed](1992):Srijan, Assamese Dept. Handique Girls‘ College. [6] Borah, Dilip[ed](2009): Charyapada, Lawyer‘s Book Stall, Guwahati. [7] Konwar, Paranan, [ed],(2004): Geetikabi Parwatiprasad: Jeewan Aru Sristir Mulyayan, Geetikabi Parwatiprasad Baruah Birth Centenary Reception Committee.

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