This page contains lyric of Tagore song amar bela je jay and its transliteration in English with background history. Background of the song includes the place and date of the song written by Rabindranath, name of the newspaper or magazine the song was first published in and the name of the person who had prepared the notation or swaralipi. This page also contains the musical composition of song like parjaay, taal, raag and ango.
The other related elements of this song like translation in English and Hindi, notation in Bengali (swaralipi), staff notation (western) which are available in other pages, please find the related links below. We have also provided the pdf's of lyric, notation and staff notation with midi with downloadable links so that people may find it easier to get the song and notations in printed format.
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Negrn came late to the idea of composer-as-occupation. She was already supplying songs for the quirky indie electronic band Baln and studying at the University of Puerto Rico when she fell in love with film scores. That's when she realized writing out her musical ideas on paper was a thing, and that before her lay an entire world of living composers to admire and learn from. Today, she's had world premieres performed by the New York Philharmonic, the Los Angeles Philharmonic, the Dallas Symphony Orchestra and Kronos Quartet, and will debut a new piece at Carnegie Hall in December.
From her home in Brooklyn, with her lightly snoring Boston terrier Midi at her side, Negrn joined a video chat to talk about her relationship to home, the challenges of a rising career and the childlike wonder ingrained in her music.
Tom Huizenga: You've had a string of back-to-back premieres lately, and have mentioned you may need to slow down a bit. As an artist who is obviously in demand, how do you know when to keep riding the wave and when to step back and collect yourself?
Anglica Negrn: I'm trying to ask myself, "Do I really want to do this, or do I feel like I have to do this?" What does this commission or this piece or this relationship represent at this moment in my life? I'm trying to see all the sides of it and let go of the fear that if I say no to something, they're not going to come back.
I love to spend time with my dog, Midi, and not have anything in my hands except petting him or playing with him. I am a very sensory-driven person, so I like his fur and his warmth. I also love to go to stand-up comedy shows and drag shows; I think in the past two years I've been to more comedy shows than music shows.
With your background as a member and songwriter for the indie electronic band Baln, you come from a do-it-yourself ethic. With all these big classical commissions, has that mindset shifted for you?
I heard that when you started in the composition department at University of Puerto Rico you were the only woman. Later, you studied with the veteran composerTania Len, who had a lot to break through in her generation. I'm wondering what barriers you're still encountering today, as a woman and as a Latina.
Through those, I discovered more modern music, eventually leading toBang on a Can,So Percussion andKronos Quartet. I remember discovering Kronos' recording ofBlack Angels and the massive score of that piece in the conservatory library in Puerto Rico. Those moments really were the spark to doing what I do. I was making ambient music by myself, and making music with Baln, but I was not writing music down on paper. I thought those things were very separate. Then I realized that they could be combined, and that it was not just a hobby.
That's definitely part of it. There's the inherent complexity that comes when you're from a place like Puerto Rico. I long to be home, but when I'm home the "magic" goes away. It gets existential pretty quickly. There's definitely a longing for this idealized sense of home, but at the same time, once I'm there, it's experiencing what my loved ones experience every single day and realizing how difficult it is to stay in this incredibly gorgeous but deeply troubled island.
I wonder about that too. Maybe I would be living on a farm and not making music at all, or only making music with plants. What I can say is that being away from home, and having such a complex relationship to the idea of home as part of the Puerto Rican diaspora, has shaped a lot of how I move in the world and the work I create.
You come from Carolina, outside San Juan, which you call the birthplace of reggaeton, with its superstars like Bad Bunny and Daddy Yankee. Do any of those beats or sounds make their way into your classical pieces?
Oh, yes. There is a piece that I wrote for the Bang on a Can All-Stars called Turistas that has some percussion elements that are definitely derived from the dembow rhythm that is the heart of reggaeton. And there's a movement from a larger piece I wrote for So Percussion titled "Go Back," which is about that kind of tension of the push and pull of going back to where you were born.
Reggaeton is now obviously part of global pop, so it's everywhere. But it's been with us for so long, especially in Carolina. A lot of the music that I wrote in the beginning, when I was in Puerto Rico, was trying to silence reggaeton, because it was always present even when you didn't want to hear it. But being away from home, I'm seeing reggaeton completely differently because I'm not in it 24/7. It becomes part of that pull to the island.
I write my best work when I'm playing, when I am exploring, when I'm discovering. There is this kind of childlike wonder to it. But at the same time, I'm 42, and I have a lot of life experiences that inform those choices. My hope is that there is lightness and joyfulness and playfulness to it, but also something else that is prompting, questioning and inviting. And in that tension, there is something fresh, beautiful and meaningful, and an entry point for others to find things about themselves.
It's a need and a desire to not only express, but also to understand things that I am not able to understand with words, and unpack them through sounds. And then hopefully, through that process, connect to others.
By normalizing the creating of music in educational settings and in public schools. Jon Deak, the founder of the Very Young Composers program, talks about how when we're young, we always play with colors and paint. That's just something normal, beginning in preschool. But with sound, it is very different. Often, early experiences with sound are through technique and learning an instrument; there's a right and wrong way of doing things. We rarely have early experiences in which we're just playing with sounds: What does this maraca sound like combined with the xylophone or this horn? Try it now without the horn, and can the horn be slower? Playing and exploring sounds is not normalized in curriculum. That would be a great first step, as easy as music teachers opening up spaces for students to be able to improvise and create.
Also, repertoire. Bring in a living composer so that they know we're out there and we exist. That was huge for me. And make sure that the posters in the classroom are not just of dead white European men, so they can see composers like Caroline Shaw, Jessie Montgomery, Tania Len, Meredith Monk, all of us who are out there now.
I've never been asked that. My hope is that my music still sounds like myself. I hope that it's as cool as Tania Len or Julia Wolfe or Meredith Monk. Those are people who have so much edge and heart and meaning, and knowing all of them personally, I know it's because they're speaking truth to who they are through their music. So regardless of the sounds I end up using or the instruments or the mediums or any stylistic or aesthetic things, what I can hope for is that it is speaking true to who I am.
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I heard this song on the radio the other day, and it's been stuck in the back of my mind. Not the lyrics, or even the tune. Not in an earworm kind of way at all. (I had to Google the lyrics, in fact.) But it grabbed me. It spoke to me, in fact. And I'm not sure I like what it had to say to me.
That song has been nagging to me all day, "Jeff, you've been going about this all wrong." (Let's set aside for the moment how much I don't like being wrong. I don't like it so much that, far as you know, it practically never happens.)
Friend, when I see you today I may not know your pain or sorrow, but I'm there for you anyway. You don't have to ask for my help or support - you have it. You don't have to share your burden if that makes you uncomfortable. Just know that somebody is thinking of you, that someone is there for you, that someone is praying for you. 152ee80cbc
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