Is Management Profession is still a practice of science or art?

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Recently, I saw the title of David H Freeman’s article – Is Management Still a Science? – published in November- December 1992 issue of HBR. That set bells ringing for me. Well, wasn’t practice of management already established as science in the second half of twentieth century? However, if there still was a question, why?

Let us first briefly look at what the article has to state:

“As every manager knows, new technologies are transforming products, markets, business processes, and entire industries, revolutionizing the business environment. Yet the more technology looms as a factor of competition, the more the emphasis is on the “soft” arts of leadership, change management, and employee motivation.

“On reflection, this paradox isn’t so surprising. The traditional scientific approach to management promised to provide managers with the capacity to analyze, predict, and control the behavior of the complex organizations they led. But the world most managers currently inhabit often appears to be unpredictable, uncertain, and even uncontrollable.

“In the face of this more dynamic and volatile business world, the traditional mechanisms of “scientific management” seem not only less useful but positively counterproductive. And science itself appears less and less relevant to the practical concerns of managers.

“However, the problem may lie less in the shortcomings of a scientific approach to management than in managers’ understanding of science.

“Put simply, while traditional science focused on analysis, prediction, and control, the new science emphasizes chaos and complexity.

“The new rules of complex behavior that cutting-edge scientific research describes have intriguing parallels with the organizational behaviors many companies are trying to encourage. Science, long esteemed by business as a source of technological innovation, may ultimately prove of greatest value to managers as a source for something else: useful new ways of looking at the world.

“The wide-ranging texts reviewed here suggest the broad outlines of what might become the new scientific management. Their message: management may indeed be a science—but not the science that most managers think.

The article, at this stage has delved deep into the four monumental books, which also underline four major trends in the development of management science during the 20th century.

These are:

The Principles of Scientific Management, Frederick Winslow Taylor (New York: Harper, 1911).

Chaos: Making a New Science, James Gleick (New York: Viking, 1987).

Complexity: Life at the Edge of Chaos, M. Mitchell Waldrop (New York: Simon & Schuster, 1992).

The Fifth Discipline: The Art and Practice of the Learning Organization, Peter M. Senge (New York: Doubleday, 1990)

The article goes on conclude that, “The scientific managers of today must be researchers who study their own organizations. And they must be designers who create the learning processes that make self-organization possible, the processes that are essential to effective performance in a world characterized by perpetual novelty and change.”

That now leads to another article – Is Management Really an Art? by Henry M. Boettinger, in HBR issue of January 1975. The author investigates what he sees as three indispensable aspects of the artistic process—craft, vision, and communication.

The article sums up with these words:

At every level of management, from shop floor to board room, across the spectrum of our institutions, whether government, business, education, armed forces, or the church, we need a rediscovery of the value of the individual imagination and a rekindling of that passion for humane purposes which is the authentic light of leadership. To manage is to lead, and to lead others requires that one enlist the emotions of others to share a vision as their own. If that is not an art, then nothing is.

Dean Stanely F. Teele, the 4th dean of HBS is more categorical in stating that “Management is a mixture of art and science …. The present ratio is about 90% art and 10% science. Though a very great deal of developments are presently increasing that proportion which can properly be called science. I am willing to venture a guess that by the end of another generation the ratio will be 80% art and perhaps 20% science.”

Peter Drucker in his landmark book The Practice of Management notes that “…managing a business must be creative rather than adaptive task. The more a management creates economic conditions or changes them rather than passively adapts to them, the more it manages the business.’  He goes on observe that “the manager is the dynamic, life-giving element in every business.’ Even as he concludes that, “Management can never be an exact science”, he does assert that the work of a manager can be systematically analyzed and classified.

Both these views relate to the mid-twentieth century thinking on the subject.

In the present times, Devdutt Pattanaik looks the whole concept from an Indian mythological point of view. Why we do business impacts how we do it and what ultimately gets done. It is very different from Management Science, taught in business schools around the world, which does not factor in belief, because belief is subjective truth, hence cannot be measured.

Despite the veneer of objectivity, Management Science is rooted in Western belief. Just as ancient Greeks celebrated Elysium, much-cherished heaven of heroes, and the Bible speaks of the Promised Land, ultimate destination of faithful, Management Science is goal-oriented, obsessed with vision, mission, objectives, milestones, and targets.

By contrast, the Indian way of doing business—as apparent in Indian mythology, but no longer seen in practice— accommodates subjectivity and diversity, and offers an inclusive, more empathetic way of achieving success[i]. The Indian approach is not goal-based; it is gaze-based. It does not exclude the Western model; it includes it, with the assertion that the purpose of an organization is to work towards happiness. Great value is placed on the practice of darshan (gaze): how we see the world and our relationship with Lakshmi, goddess of wealth

So Devdutt Pattanaik has developed a 3 B model, which he calls as the Business Sutra, which basically says, as is your belief, so is your behavior, so is your business. This is Business Sutra, a very Indian way of doing business.

3-b-model

To explore the concept in greater details, every first Sunday of the month, starting from January, 2017, we will revisit, Devdutt Pattanaik’s TV serial, Business Sutra, telecast on CNBC in 2010.

[i]  The Indian approach to business: Devdutt Pattanaik at TEDxGateway 2013

Carnival of Blogs on Golden Era of Hindi Film Music – November 2016

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Welcome to November, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

For the present episode we continue with posts from Silhouette magazine, on the memories of S D Burman on his birthday on 1st October (1906) –

Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and in-depth interviews – Part I and Part II – of his article Pioneering Experiments Which Became Trends: S D Burman and His Music

The Mesmerizing Moods of Jaane Kya Tune Kahi (Pyaasa) – The iconic Jaane kya tune kahi in Guru Dutt’s Pyaasa (1957) is a masterpiece in the world of music and cinematic technique. Anand Desai and Antara Nanda Mondal dig into the finer nuances of this classic song, unspooling its various artistic and creative layers – composition, rendition, camera work, performances, orchestration and more. Here is its Bengali version – Mono Dilo Na Bandhu

The Incomparable Music Of S D Burman Transcends GenerationsWhat makes Burman Dada’s music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his?  Antara Nanda Mondal  seeks possible answers. Here is just one example, from her search across a cross section of people who are in the know.

Aankh Jhukakar Baithnewaale (Funtoosh, 1956) SD Burman / Sahir Ludhianvi / Kishore Kumar and Asha Bhosle)

10 Most Loved Duets of Geeta Dutt – As a tribute to the Queen of Bhaav Gayaki, Antara Nanda Mondal revisits some of her most favourite duets of Geeta Dutt that create a charming world of evergreen music. She put her heart and soul into each and every song she sang, What stood out was a unique style, rendition, gayaki and that added edge that made these songs reach a new level altogether.

More to read on Geeta Dutt

mala-sinha-810x574We have an excellent career-sketch of Mala Sinha, profiled by Karan Bali  in this episode.  Well into her 30s, a dreaded age period for Hindi film heroines, she continued with leading roles into the 1970s pairing with the younger lot of heroes – Premendra (Holi Aayee Re (1970), Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971).

Baat Niklegi Toh Phir: The Unforgettable Voice and His Musical Journey – In remembrance of Jagjit Singh, Antara Nanda Mondal  for Learning and Creativity-Silhouette Magazine presents a review of journalist-editor-biographer Sathya Saran’s eloquent and engrossing chronicle Baat Niklegi Toh Phir The Life and Music of Jagjit Singh, peppered with anecdotes, instances, stories and nuggets of information, traces the life, works and music of India’s most popular ghazal singer.

Helen of the dance floor, in 10 songs – Born on November 21, 1938, and dazzling viewers all the way to eternity, Cha Cha Cha (1964) offered Helen a rare chance to be a heroine, while offering maximum exposure to her dancing prowess:

The instrumental title track from Cha Cha Cha

Cha Cha Cha*Cha Cha Cha(1964) Dance Competition

15 films about children to mark Chacha Nehru’s birthday : Children’s Day is the perfect excuse to visit the most enduring cinematic explorations of the world of the little ones.

SP Balasubrahmanyam’s staggering achievement: 40,000 tracks, 50 years later, numerous languages : With his unparalleled talent to emote, SP Balasubrahmanyam has lifted compositions to sublime levels.

The November, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Surinder Kaur.

Here are posts on other subjects as well:

When Lata & Noor Jehan Sang The Same TuneKaran Bali in his study of Lata – Noorjehan parallels landed upon Nayanawa Chalaye Ban, in Norrjehan’s voice for Anjuman a 1970 Pakistani film. The very same tune had been used in a Hindi film called Kar Bhala (1956), recorded in Lata Mangeshkar’s voice by Nisar Bazmi as Balamji Bade Nadan.

Some great songs of Lata Mangeshkar by Shankar-Jaikishan goes onto chart one more color of SoY’s Lata Mangeshkar spectrum, supplementing her association with other music directors Chitragupta, C Ramchandra, Roshan, SD Burman, Anil Biswas and Naushad. Previously, Lata Mangeshkar’s dance songs by SJ and S-J’s female dance duets have already added different shades to the Shanker – Jaikishan:-Lata Mangeshkar color on SoY.

My Favourites: Nigahein Songs is in line with different categories of Naina and glance, gaze – Nazar – songs that in Hind films invariably leads to romance song. All these come from Aankhen.

A Few Words About the NYPL Library for the Performing Arts and Reviews of A Few Books That I Got There even in those rushed visits.

The debt that Indian cinema owes to Wilkie Collins and his ‘The Woman in White’Karan Bali According to Nasreen Munni Kabir’s seminal book Guru Dutt: A Life In Cinema, Raaz was based on The Woman in White… Although Guru Dutt had abandoned Raaz, the movie was destined to be made. His former assistant Raj Khosla, got permission to use the unfinished film’s story. Khosla reworked Raaz with writer Dhruva Chatterjee as the well-crafted suspense drama Woh Kaun Thi? (1964)… Woh Kaun Thi is the first in a trilogy of mystery films that Sadhana did with Khosla, the others being Mera Saaya (1966) and Anita (1967)… The success of Woh Kaun Thi? inspired remakes, Yaar Nee? (1966), in Tamil and Aame Evaru? (1966) in Telugu, both starring the up and coming J Jayalalithaa. The Woman in White also travelled across the border. Acclaimed music director Khwaja Khurshid Anwar’s Humraz (1967) stars Pakistani star Shamim Ara in the double role of the sisters.

‘Gulzar in Conversation with Tagore’ is a love letter from one poet to anotherManish Gaekwad :  Composer Shantanu Moitra tunes Gulzar’s lyrics to Rabindra Sangeet in a stunning non-film album Gulzar in Conversation with Tagore featuring seven songs based on Hindi translations of poems by Tagore.

Gulzar’s ‘Lekin’ is a mystery in an enigma wrapped in raag MaandRineeta Naik:  The combination of Gulzar’s lyrics and Hridaynath Mangeshkar’s music is adequately ghostly.

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar, the series went to  take a look at Male-Male Duets and Triads & Triads+ as the last leg of the journey. The journey has ended with My Top Duets and My Top Music Directors as my concluding pieces. SoY’s  Best songs of 1949: Wrap Up 4  of dueta fondly notes that male-female as well female-female duets of singers other than Lata Mangeshakr create a kaleidoscope of colors.

We end today’s episode with a couple post / songs on Mohammad Rafi’:

When Big B lost out to Sanjay Khan  in ‘Duniya Ka Mela’ – Here is the original song from the film pictured on Bachchan and Rekha….Asha Bhosle accompanies Mohammad Rafi in this duet.

Very Rare Songs Clips (1 & 2) by Great Mohammad Rafi Sahab

I look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Quality Management Articles and Blogs – November, 2016

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Welcome to November, 2016 edition of Carnival of Quality Management Articles and Blogs.

We have already taken up the following topics for the familiarisation of different elements of new version of ISO 9001-

For the present episode we will take an overview of Auditing.

training-internal-audit

Transition to ISO 9001:2015. What will the auditor ask? – Generally, when something changes, that will be what the auditor is going to focus on; the vindictive auditor will try and catch you out, to show they know more than you, and make themselves look good. The professional auditor will focus on the continual improvement approach and appreciate that management systems change and improve over time.

What Is Auditing?  – An audit can apply to an entire organization or might be specific to a function, process, or production step. Find more information in the video, The How and Why of Auditing wherein auditing expert and ASQ fellow Dennis Arter shares tips and advice for auditors and auditees.

The Positives and Pitfalls of Auditing Checklists  – Every auditing course you go on, every book you read about auditing, and every standard that’s been written essentially all say the same thing ­– if you audit you should use a checklist! Now that’s all good and fine, but there are some things to be aware of. The article goes on to explain the good and some of the pitfalls of checklists and then recommends some ways to address them.

Audits that See Below the Surface Evaluate Internal Controls Peter Chatel draws up a very speaking line that can enable to evaluate the effectiveness of the internal controls in place, that include among other things:
• Defined responsibilities, accountabilities, authority and authorization
• Separation of Duties
• Policies, Programs and Procedures
• Personnel Experience and Development
• Protective Measures
• Internal Verification
Documentation

Explaining E-Audits: A Method for Remotely Conducting Audits – Auditing expert Shauna Wilson explains how organizations can use e-auditing to remotely audit. Learn how this approach can lead to more efficient audits and what factors organizations must consider when implementing e-audits.

We have collected a few from slew of videos on the subject:

How to survive an ISO Audit

Quality Audit Preparation

What Not to Say during an ISO Audit Part 1 | Part 2 | Part 3

We will now take up a few ISO 9001:2015-centric articles and videos.

The Most Important Audit Questions for ISO 9001:2015By Craig Cochran, Project Manager, Georgia Manufacturing Extension Partnership (GaMEP) at Georgia TechISO 9001:2015 includes a lot of new requirements that have never been part of most audits. In order to expedite your thinking, these are what I believe to be the most important audit questions for ISO 9001:2015.

ISO 9001:2015 – The great leap forward for auditors! – It brings new challenges for auditors to apply their competencies and also brings great opportunity to accomplish their audits.

Objective Auditing Meets ISO 9001:2015 – How auditors can help organizations understand context and risk – Inderjit Arora  – Auditors must also understand how the context of an organization relates to quality management principles. If they do, then they will look for conformities in the management system to ISO 9001:2015 requirements. If during this audit they do find nonconformities based on requirements,

Auditing to ISO 9001:2015 – This presentation has spelt out what is required to be audited w.r.t. ISO 9001: 2015.

How the Auditors View ISO 9001-2015

Internal Auditing, an important type of audit, is seen to be in a different perspective, particularly in view of the structural changes in ISO 9001: 2015.

The Internal Auditing of Management Systems – Graham W Parker – Providing evidence for and confirmation of the confidence that operations are consistent, under control. Effective and efficient, is the primary role of auditing – by looking to the evidences to the contrary.

Preparing for ISO 9001: 2015 using your QMS – Part 5: Internal Audits – The subsection 9.2.2 goes on to be more detailed. Instead of “an audit program shall be planned, taking into consideration the status and importance…”, the new text includes, in part, “…the organization shall: a) plan, establish, implement and maintain an audit program(s)…which shall take into consideration the quality objectives, the importance of the processes concerned, customer feedback, changes impacting on the organization…”. The results of previous audits are also to be considered per the current requirement.

Five Main Steps in ISO 9001 Internal Audit  – If used properly, the Internal Audit, instead of being a “necessary evil,” can be one of the biggest contributors toward process improvement in the QMS.

And here are a few video clips related to internal auditing:

Understanding ISO 9001:2015: Internal audits

Meet the Internal Auditor

When I Say Internal Auditor, You Think

Internal Audit – Mastering ISO 9001:2015

7 Deadly Internal Audit Sins

Internal Auditing – A Love Story

How to Succeed as an Internal Auditor

Internal Auditing: A Career for Today, A Career for Tomorrow

Before we end our present discussion, here is one poser – Why Would you Want to be an Auditor?

For the concluding episode in this series, in December, 2016, we will take up The Road beyond ISO 9001:2015.

We will now turn to our regular sections:mr-pareto-head

ASQ CEO, Bill Troy in his ASQ’s Influential Voice has an interesting article as well: Interview With The Creator of Mr. Pareto Head, which is an absorbing interview with Mike Crossen, the creator of the Mr. Pareto Head comic strip. How a hard-core engineer finds humor in quality and how Mr. Pareto Head came to be has many other lessons for professional as well as personal lives. Meet “Mr. Pareto Head”

We now watch two of the latest ASQ TV  episode:

  • Around the World on a Bicycle, with Quality: While some of us only dream about quitting our jobs and traveling around the world, Sunil Kaushik did it. Kaushik, a Six Sigma trainer and consultant based in India, left his job to cycle the globe and teach quality along the way.
  • Gemba Walks Improve Process, Communication, and Culture: Eileen Serrano, Business Optimization Expert, Roche, describes the process her organization went through to establish daily Gemba Walks and how its culture has changed for the better.
  • Quality Memes: In social media lingo, a “meme” is a photo, video or idea that becomes extremely popular online. What better way to promote World Quality Month this November than to share quality-themed “memes”?
  • World Quality Month: Quality is about reliability, improvement and …fun? That’s right! During World Quality Month in November, meet a quality cartoonist and a man who’s sharing quality tools while cycling around the globe. Plus, learn how you can use social media to make quality jobs, tools and concepts accessible to the community beyond quality professionals. Sunil Kaushik’s Travel Blog: www.trainntrot.com World Quality Month Website: www.worldqualitymonth.org

Jim L. Smith’s Jim’s Gems for the month of October, 2016:

  • Leadership’s Five Key Practices: All quality professionals must practice leadership skills to add value – In order to demonstrate these skills, lookJim's Gems for opportunities that surround you every day. Do not wait for someone to ‘call your name.’ Be aware of what’s happening in your organization, raise your hand, and seize those opportunities. Start small but think big. After all, you have much to gain and little to lose.
  • Make IT Happen: You have to get yourself going, sort through all the noise and complexity, roll up your sleeves, get your hands dirty, and make it happen!

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.

Fading Memories…. Unforgettable Songs: November, 2016

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surinder-kaurWhile listening to the Songs of 1949, I had opportunity to listen to the solo songs of Surinder Kaur in great detail. I did get to listen to her duets with Mukesh, but as it appears, had missed the duet with Mohammad Rafi. The surreal appeal of her voice simply lingered on in my mind..  Hence, I sought more details. Cineplot.com and Wikipedia provide us fairly comprehensive details about her background. We come to know that this is the month of her birth (25th November, 1929).

And that made the choice for the content of our November, 2016 episode very simple – Solo Songs of Surinder Kaur from Hindi Films.

The list of songs that I could lay hands on span the period of 1948 to 1952 only. I have no idea how much these songs had become popular those days and why did she had to retreat to singing Punjabi songs only. Losing on more songs must surely mean a big enough loss to the wealth of Hindi Film music, but the songs that we already have are more than enough to make up the quantitative value.

I have chosen only one solo song per film here, and that choice is what my ears have liked. All other songs are available on YT, so those who wish to go beyond the ones here simply have to search for the film and the songs will appear easily enough.

So here we go….

Akhiyan Mila Ke Akhiyan, Roye Din Ratiyan – Nadiya Ke Paar (1948) – C Ramchandra – Moti B.A.

This is the only solo song in the film and that has gone to Surinder Kaur. What a break that should be! And she has certainly lived up to the demands as well.

Ek Nazar Woh Yaad Hai Unki, Jisne Dil Par Vaar Kiya – Nao (1948) – Gyan Dutt – D N Madhok

I have no idea whether Nao came first or it passed Nadiya Ke Paar first, but the as we cross Nadiya Ke Paar with the Nao, we get the bounty of three solos and a duet of Surinder Kaur.

The song is composed to the inherent Punjabi fair, but Surinder Kaur’s chords have certain appeal beyond the composition.

Kitne Door Hai Huzoor, Kaise Mulaquat Ho – Pyar Ki Jeet (1948) – Husnlal Bhagatram – Qamar Jalalabadi

A dholak-based rhythm again, but Surinder Kaur comes in different colours in the delivery of the songs…

Badnam Na Ho Jaaye Mohabatt Ka Afsana – Shaheed (1948) – Ghulam Haider – Raja Mahendi Ali Khan

This can be called as perhaps her most ever-known song. Shaheed was certainly a film that by its very nature of the story was heavily tilted towards the character of the hero. Therefore, it was no small achievement that Kamini Kaushal had underplayed to the hilt her role of the beloved one who remains in the shadow, but comes out with equal theatrical score at the end. That makes the responsibility if the lead female playback singer quite daunting. That Surinder Kaur was chosen for all the three solos means that the music director had invested great trust in her voice. She has risen to the best of the vintage era playback standards.

Aye Chand Tere Saath To Rehate Hai Sitare – Dada (1949) – Shaukat Hussain Dehalvi (a.k.a. Nashad) – Rafiq Ajmeri

The films had two other duets with Mukesh and one with Shamshad Begum. Surinder Kaur continues her standard that she had set in Shaheed.

Ummeedo Par Udasi Chhaa Gayi, Kya Tum Na Aaoge – Kaneez- Ghulam Haider – Harishchandra ‘Akhtar’

Ghulam Haider reposes the faith and Surinder Kaur rises so well to the challenge in a song that exudes pathos.

Dil Ke Maalik Sun, Mera Dil Toot Gaya Hai – Rooplekha (1949) – Sajjad Hussain – Khumar Barabankvi

For the purposes of records, HFGK mentions Khan Masatana as the music director for all songs of the film but one. For us it is to relish the sheer melody of Surinder Kaur’s voice in so lower octaves at a very slow spaced rhythm.

Ye Lakhon Hasaratein…Ab Jiyen Batao Kiske Liye – Sanwaria  (1949) – C Ramchandra – P L Santoshi

C Ramchandra also has chosen to allot one solo song to Surinder Kaur – Shamshad Begum has two other solos whereas Lalita Deulkar has one. Surinder Kaur so easily sounds like Shamshad Begum, with a heavier tone. Well, that is what it sounds to me. Whatever that may be, the song stands so well on its own merits too.

Chanda Re Main Teri Gawahi Lene Aayi – Singaar (1949) – Khursheed Anwar – D N Madhok

There are two more solos and a duet with Suraiya also to Surinder Kaur’s account in this film. She has played back for Madhubala in the film. In the present case, the song is set to a very soft style, befitting the mood of the scene in the film. Singing with the minimal support of the rhythm, Surinder Kaur succeeds in enacting the mood.

Tum Sang Akhiyan Mila Ke… Neha Laga Ke, Main Haar Gayi…- Sunehare Din (1949) – Gyan Dutt – D N Madhok

Gyan Dutt has not only given once again a lion’s share in the film’s songs, he seems to have gone to further experiment as well.  If this song is playful, listen to

Thandi Thandi Hawa Jo Aaye – a song so full of pathos and Surinder Kaur enlivening every possible nuance of the emotion.

Daga Baaz Kaun Bharosa Tera – Khamosh Sipahi (1950) – Hansraj Behl – D N Modhok

This time it is Hansraj Behl who takes the Surinder Kaur to very low octaves and creates the deep pathos from the emotionally-charged heaviness of her voice…

The film has one more solo to Surinder Kaur’s account and a duet each with Mohammad Rafi and Geeta Roy respectively.

More Nain Baware, Chham Chham Neer Bahaye – Sabak (1950) – A R Qureshi – D N Modhok

Heroine is physically so far away from her beloved that the she has no one to share the tears rolling down from eyes.…

For the records, Sabak has highest number of songs to Surinder Kaur in any one film – three solos, three duets with Mohammad Rafi and a chorus in duet with Asha Bhosle.

‘Shaadi Ki Raat’ (1950 has one duet with Talat Mahmood, which is so light in mood.

Duniya Se Nyaari Teri Sasural Hai, Ghar Mein Na Aata Hai Na Ghee Hai Na Dal Hai – Badi Bahu (1951) – Anil Biswas – ??

Here is a typical pre-marriage ceremony song where bride’s friends get together and tease her while playing satirical songs about her in-laws-to-be. Most of India has similar tradition, but Hindi films have standardized it to the traditional Punjabi culture. That is perhaps reason why Anil Biswas has chosen Surinder Kaur for the song.

Majhdhar Mein Kashti Doob Gayi – Buzdil (1951) – S D Burman – Kaifi Azmi

S D Burman creates Shamshad Begum-like effect with Surinder Kaur…

Main Mubarakbaad Dene Aayi Hun – Aandhiyan (1952) – Ustad Ali Akbar Khan – Pandit Narendra Sharma

For an essentially high-pitched-voice female singer, one obvious song form is a Mujhara. Surinder Kaur’s repertoire is, too, now complete.

To end, there is a very peculiar piece in Aandhiyan. Surinder Kaur’s voice has also been used for a male musician who has a feminine voice who is in the process of setting up the scale for the performance.

In order to end our episode with a Mohammad Rafi song, I have chosen the first film in which Mohammad Rafi and Surinder Kaur had a duet. The composition is set to quite lilting rhythm:

Tum Jo Ho Jao Hamre Hum Ho Jae Tumhare.. Kabhi Chandani Raton Mein – Rooplekha (1949) – Khan Mastana – Khumar Barabankvi

Surinder Kaur has had left behind a very rich legacy of her Punjabi songs also.

surinderkaur-a

We pay our humble tribute to Surinder Kaur on her ensuing birth day by promising that we will come back to her duets at appropriate occasions.

If you have more songs to share, you are most heartily welcome…..

The Micro View of the Best Songs of 1949 @ SoY – MY Top Music Director(s)

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The theme poster of ‘Best songs of 1949: And the winners are?’ has six films, but five music directors. Naushad has two films there (Andaz and Dillagi), whereas four others Shanker Jaikishan, C Ramchandra, Khemchand Prakash and Husnlal Bhagatram have one each (Barsat, Patanga, Mahal and Bari Bahen respectively).

Naushad had huge contribution in the huge success of Andaz at the box office, mainly through the solos of Mukesh, with Lata Mangeshakar solos playing a fair measure of the support. This was the last monumental work that Naushad had had with Mukesh, till they worked again in Saathi, a good 19 years later.

Hum Aaj Kahi Dil Kho Baithe Yun Samajo Kisi Ke Ho Baithe

Shanker Jaikishan also had a lion’s share in box office success of Barsat, that went on to create a great Lata Mangeshkar wave. They also created the RK-SJ signature style of ending the films with a very unique style of the theme song of the film –

Barsat Mein, Ham Se Mile Tum Sajan Tumse Mile Ham

Here is the such first maiden final scene

Khemchand Praksh needed to have created only Ayega Aanewala, to find a very honorable emeritus mention in the annals of Hindi Film Music history.

Ek Teer Chala Dil Pe Laga

Husnlal Bhagatram, who too appear quite prominently in  Male Solos, Female Solos or even Duets  lists for 1949, certainly have to their credit some all-time outstanding solos of Suraiya (in Bari Bahen) this year.

Tum Mujhko Bhul Jao Ab Hum Na Mil Sakenge

Mere Piya Gaye Hai Rangoon is one of those non-traditional song among such other all-time chartbusters from the stable of C Ramchandra that one would hardly ever imagine that it is same CR would later on go on to give some of Lata’s or Talat’s all time greats.

Balam Tujhe Mera Salam

However if we go a step beyond the measure of box office success of both the film and the songs, we have at least a couple of more music directors who had excellent scores for 1949.

Gyan Dutt has Maine Dekhi Jag Ki Reet, Meet Sab Jhuthe Pad Gaye or Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai like evergreens for Sunhare Din.

Javani Ke Din Hai Yeh

S D Burman too had Quismat Mein Bichhadan Tha or Tu Mahalon Mein Rahanewali or Tumhare Liye Hue Badnam for Shabnam.

Hum Kisko Sunaye Haal Ke Duniya Paise Ki

Shyam Sundar had had his own share in Lahore (Nazar Se Dur Jaanewale, Baharen Phir Bhi Aayegi Magar Hum Tum Juda Honge) and Bazaar (Apni Nazar Se Dur Woh Unki Nazar Se Dur Hum) or Char Din (Anjaam-e-Mohabbat Kuchh Bhi Nahin).

In fact the towering commercial success of Andaz had paled some other very good scores of Naushad. Dillagi songs like Leke Dil Chupke Se or Duniya Kya Jaane Mera Afsana or Char Din Ki Chandani Phir Se Andheri Raat Hai had quite an undeniable charm. So were Do Din Ke Bahar Pyare or Na Bol Pee Pee More Anagana Panchhi Ja Re Ja or Muhabbat Hamaree Jamana Hamara Tu Gaaye Aye Dil Tarana Hamara form the album of Dulari. Even relatively little less known Chandani Raat had gems like Chhaya Meri Ummeed Ki Duniya Mein Andhera or Aankh MilI Dil Chala Gaya or Do Din Ki Khushi Haye Do Din Ki Kushi Raaaz Na Aayi Kisiko.

1949 had so many other than Lata Mangeshkar – Mohammad Rafi great songs from such a wide cross section of Music Directors that no one may have ever imagined then that just by the turn of the decade this duo will overwhelmingly rule the Hindi Film Song world.

In the ultimate analysis that will remain the sole importance of the year 1949 in the history of Hind Film Music – a threshold that provided the escape velocity to Lata Mangeshkar and Mohammad Rafi even when many other singers were so strong on their spheres.

The Micro View of the Best Songs of 1949 @ SoY – MY Top Duet Songs

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I always have had a special inclination towards the duet songs. 1949 is the year which had a fairly large catch of the duets to listen to and quite a few have been in the all time favorites of not only my choice but probably of all listeners in general as well. As a result, I have moved along and have generously presented My Top choice duets.

Male – Female Duets

It is no surprise that Male Female duets dominate the overall choice among variants of the duets. However, the domination of duets of Mohammad Rafi and Mukesh is my limitation of taste and choice. In other words, these are the songs that I have been listening to far more frequently than the others. So my choice does reflect that bias.

Other Duets

The Female – Female duets and the solitary triad + song are more or less automatic choices, at least by application of their overall populariover all these years.

The choice of selecting The Best from these has worked out to be more difficult than I had imagined. So I propose a work around solution. I have picked up one duet each from those of Mohammad Rafi, Mukesh and from the others.

We will conclude The Micro View of the Best Songs of 1949 @ SoY in our next episode.

The Micro View of the Best Songs of 1949 @ SoY – Duets – Male-Male Duet Songs AND Triads & Triads+

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Male-Male Duet Songs

While remaining an essential variant of the duets, male-male duets has neither been a popular format nor been an easy one to compose. In that respect 1949 has perhaps a very unique distinction of having a male-male and a female-female duet version in the same film.

Duniya Walo Mujhe Batao Kya Hai Sachcha Pyar – Balam 1949 – Mohammad Rafi with S D Batish – Husnlal Bhagatram – Qamar Jalalabadi

We have already taken note of the Female- Female Duet version of Lata Mangeshkar and Suraiya

Quite unusually, we have one more duet of Mohammad Rafi and S D Batish this year.

Har Aish Hai Duniya Mein Ameeron Ki – Kaneez – Mohammad Rafi, S D Batish – Ghulam Haider – Hasrat Lakhanavi

1949 has another distinction too in that it has two duets of Mohammad Rafi and Mukesh in the same year.

Jale Jalanewale Humko Jaise Mombatti – Chilman – Mohammed Rafi and Mukesh – Hanuman Prasad – P L Santoshi

Baat To Kuchch Bhi Nahin, Dil Hai Ke Bhar Aaya – Thes – Mohammad Rafi, Mukesh – Snehal (V G Bhatkar) – Kidar Sharma

Here are two more male-male duet songs for which the internet has not been to establish a digital link.

Dil Ki Basti Ajib Basti Hai – Bhool Bhulaiya – A R Ojha, Bhola – Bulo C Rani – Pandit Indra

Teri Juruva Lagegi Bholi,Ho Raja – Shoharat – Mohammad Rafi, Khan Mastana – Aziz (Hindavi) – Gulshan Jaman

Triads, Triads+

1949 has quite a large selection of triads or triad+ songs. It is generally seen that at least one of such songs also turns out to be a chart-buster. 1949 is no exception in this aspect.

Chhala De Teri Nishani Teri Maherbani– Bazaar – Mohammad Rafi, Satish Batra, Shamshad Begum – Shyam Sundar – Qamar Jalalabadi

Sharmane Haseeno Ko Aaya Hai Shabab Unka – Bholi – S D Batish, Chandu Shivdasani, Shamshad Begum – Govind Ram – Ishwar Chandra Kapoor

(Soft link to the song has not been able to link it to the audio file.)

Haseeno Ki Adaye Bhi.. Yah Bhloi Suratwale – Char Din – Mohammad Rafi, S  D Batsih, Rajkumari – Shyam Sundar – Shakeel Badayuni

This song has another version too.

Haseeno Ki Adaye Bhi .. Yah Bholi Suratwale – Char Din – Iqbal, Johrabai Ambalewali, Lata Mangeshkar – Shyam Sundar – Shakeel Badayuni

Lara Lappa Lara Lappa Lai Rakhava- Ek Thi Ladki – Mohammad Rafi, G M Durrani, Lata Mangeshkar – Vinod – Aziz Kashmiri

Hum Chale Door, Hum Chale Door, Dil Hua Choor.. Haiya Ho – Ek Thi Ladki – Mohammad Rafi, Satish Batra, Lata Mangeshkar, one unidentified singer – Vinod – Aziz Kashmiri

Namasteji (2) Hamara Tumara Jeevan Beete Hansate Hansate Ji – Naach – Mohammad Rafi, Johrabai Ambalewali, Shamshad Begum – Husnalal Bhagatram – Nazim Panipati

Lab Pe Fariyaad Hai, Dil Barbaad Hai – Naach – Mohammad Rafi, Geeta Roy, Lata Mangeshkar – Husnlal Bhagatram – Mulkraj Bhakari

Kyun Karata Maan Jawani Ka, Tu Ek Bulbula – Naach – Mohammad Rafi, Geeta Roy, Lata Mangeshkar – Husnlal Bhagatram – Mulkraj Bhakari

Namamste (4) Pahale To Ho Gai Namaste – Patanga- Chitalkar, Mohammad Rafi, Mohantara, Shamshad Begum – C Ramchandra – Rajendra Krishna

Mere Ghar Aage Hai Do Do Galiya – Rimjhim –Kishore Kumar, Shamshad Begum – Khemchand Prakash – P L Santoshi

Mere Paas Aao Mere Bhole Sajanji – Roshni – Chitalkar, Mohammad Rafi, Lata Mangeshkar, Shamshad Begum – C Ramchandra – P L Santoshi

Kaliyon Mein Jawani Aayee Kaliyan Lagi Phoolane,Chikbam, Chikbam, Chikbam – Roshni – Mohammad Rafi, Chitalkar, Sshamshad Begum – C Ramchandra – P L Santoshi

Hum Mast Dilon Ko Lekar Chali Masti Mein Chali Motor – Sunehare Din – Khan Mastana, GM Durrani, Shamshad Begum, Kalayani – Gyan Dutt – Shekhar M A

In the next episodes we will conclude the duets with My Top Choices.

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