Arnold (1992) even found that the Hindi film song was an identifying mark of Indianness. According to her, the Hindi film song offered all Indians a distinctly national, modern and popular music with which they could identify and which reflected, in the intention of its composers, the struggle for a new Indian nation and a new national identity. Say no to plagiarism. . Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay While trying to explain the eclecticism found in Hindi songs, she made some basic observations: The first concerns the musical basis Hindi film songs, such as its musical structure and vocal style which include fundamentally Indian elements; the second concerns additional factors such as scale patterns, rhythms and instruments that differentiate individual songs and draw inspiration from a number of foreign and indigenous musics. She cites two examples of Hindi film songs in which the film's music directors Salil Chaudhury and Vasant Desai make some modifications to Western instrumental musical compositions and integrate them with Hindustani classical music. In order to explain the eclecticism of the indigenous film song. compositions, she cites the work of music director Ghulam Haider who first introduced her Punjabi folk rhythms and effervescent musical style in the early 1940s. Manuel's (1988) interpretation of Hindi film music is based on Marxist and neo-Marxite theoretical interpretations and are similar. to the theoretical works of post-critical theorists such as Theodore Adorno of the Frankfurt School. According to Morcom (2007), the studies of Arnold (1992) and Manuel (1993) are similar even if we find a clear separation between the works of these two authors. Arnold (1992) based his work on modernist terms while Manuel relied on post-critical theory. In fact, Arnold strongly opposed any interpretation of Bollywood musicals based on Adorno's post-critical theoretical framework. Manuel (1993) also examined the impact of film music on folk music (pp. 55-59), as well as attempting to explain the reuse and recycling of tunes within and between many genres of music South Asian. Apart from these two major studies, a number of small works on Hindi musicals have been done, although their sample size is very small. For example, Skillman's (1986) historical study of Bollywood musicals covered the same ground that Arnold had explored in his work. Similarly, Cooper (1988) discusses the use of song from the perspective of a director such as Guru Dutt. At the same time, Beeman (1981) compares Hindi film songs to Hollywood film music. Barnouw and Krishnaswamy's (1980) study of Indian cinematic storytelling did not look exclusively at film songs, which often differed from film songs as well. Ray (1976) has written appreciably on the fusion skills of Indian music directors. Like Cooper (1988), Chatterjee (1995) also explains how the director combined music and narrative in the film Awaara (1951) directed by Raj Kapoor. Kabir (1991) has also produced numerous works, although some have never been published, on film songs in relation to their importance to Hindi cinema. Booth also discussed the use of film songs in the music of the Indian Brass Bands (1990 and 1992). Marcus attempted to connect film music in thecontext of his appearance and influence in Biraha (1993 and 1995). Gopal and Moorti (2008) in their collection of essays on various aspects of Hindi film songs, showing their growing contours as global and mass. culture, have once again reinforced the post-critical theoretical aspects of Hindi film music. Although Morcom acknowledged in her book – Hindi Film Songs and the Cinema – that many universities in India have written several dissertations on film music, she regrets that none of them ever had the chance to be published (2007: 9). She points out that Professor Pradeek Kumar Dixit carried out the very first thesis on this subject in 1978 at the Banaras Hindu University. Dixit is perhaps the first Indian author to situate film music on modernist and traditionalist foundations, and probably the first to describe the use of Indian classical music, Indian folk music and Western music sources in Hindi movie songs style. Sinha (1991) and Dasgupta (1998) are scholars who have discussed the use of music in Hindi film songs in a limited manner. While Dasgupta explained how Indian music has been a force of inspiration for people wanting to learn music in India, Sinha focused his work on how Naushad's music has contributed greatly to Indian film music. She primarily focused her study on how Naushad had produced hybrid musical genres by combining folk and classical styles, Western-style instruments and orchestration to create mood and effects relevant to the drama and setting of the songs. Vasudevan (2000) characterizes the hybridity of Hindi. films by identifying the combination of Hollywood realistic continuity codes that advance the linear narrative with static visual codes such as the tableau, iconic forms of address and pre-modern Indian cultural codes of gaze. According to him, these different cinematographic codes convey meaning in different ways and create different effects. He further notes that song sequences tend to contain more stasis, more framing and iconic tableaux. Morcom (2007) says that if the music of a song is related to the narrative, then these different narrative styles can help us better understand the musical style of songs. For most of his interpretations of Hindi film songs, Morcom drew directly on the theoretical framework set out by Brooks and Elsaesser (1991) on the role of music in melody. Dutta (2009) in his study on how technologies negotiated nationalist identities through ‗ The hybridization of music in Hindi film songs revealed that films like Laggan (2001), Kal Ho Na Ho (2003) , Swades (2004) and Rang de Basanti (2006) produced music that combined folk, traditional, classical in addition to Western classical. . She also found that folk, traditional, and classical were loosely separated from classical Western and correlated directly with the film's narrative. She says that “music very clearly becomes a cultural marker of difference through the quoting of supposedly Western classical music in relation to scenes relating to the British cantonment in the film Lagaan (2001). Hughes (2007) found that music recording companies and their products foreshadowed, mediated and transcended the musical relationship between stage theater and Tamil cinema. He was of the opinion that the music recording industry had not only transformed Tamil dramatic music into a product for mass circulation before the advent of talkies, but that it had,.