Author: Sanjoy

Dr. Pragya Pyasi

Dr. Pragya Pyasi, Assistant Professor of Music at the University of Hyderabad, specializes in Hindustani Classical Music (Sitar)—a disciple of Pt. Sanjoy Bandopadhyay, Dr. Pragya, earned her M.A. and M.Phil. from Indira Kala Sangeet Vishwavidyalaya, Khairagarh (University Topper), and a Ph.D. from Bhatkhande Sanskriti Vishwavidyalaya, Lucknow. She qualified for UGC-NET in 2012.

Dr. Pyasi has published extensively in UGC CARE and SCOPUS-indexed journals, focusing on music pedagogy, stylistic analysis, and interdisciplinary studies. She received the Best Research Paper Award (2022) from Naad Nartan Journal and has guided MPA students for their paper publications in CARE and Peer Reviewed Journals, with two receiving Best Paper Awards (2023). An Assistant Editor for Naad Nartan and reviewer for Shodhkosh, she has presented at national and international conferences and delivered lectures as a Guest Speaker at institutions like Banaras Hindu University, Indira Kala Sangeet Vishwavidyala, and Bhatkhande Sanskriti Vishwavidyalaya.

She serves on Boards of Studies, Examinations, and Research Advisory Committees of reputed institutions. A recipient of the National Scholarship (MHRD), she has performed at prestigious festivals and actively promotes Indian art and culture through NGOs and rural music workshops.

Detailed CV

Dr. Pragya Pyasi | Assistant Professor | Department of Music | SN School of Arts and Communication | University of Hyderabad
Phone: 9452669634 | Email: pragya.sitar at gmail.com and pragya at uohyd.ac.in

Educational Qualifications

  • Ph.D (Bhatkhande Sangeet Sansthaan Sam Vishwavidyalaya, Lucknow, 2017)
  • UGC NET (2012)
  • M.Phil. (Sitar) – Indira Kala Sangit University Khairagarh (2003)
  • M.A. (Sitar) – Indira Kala Sangit University Khairagarh (2002)

Specialization

Hindustani Classical Music – Sitar

Research Interests

Music pedagogy, Stylistic analysis of music, Interdisciplinary studies involving Music, allied art forms, and other disciplines.

Music Training

  • Basic training of Sitar under Shri. Rajiv Keshav Kelkar (Jhansi)
  • Currently learning sitar under Pandit Sanjoy Bandopadhyay, the eminent sitar maestro, academician, and an exemplary Guru.

Professional Associations

  • Member of Research Advisory Committee at the Department of Performing Arts, Assam University Silchar (a central university).
  • Assistant Editor in Naad-Nartan Journal of Dance and Music.
  • A reviewer with Shodhkosh: Journal of Visual and Performing Arts
  • Member of the panel of examiners for UG, PG, and Ph.D by Indira Kala Sangit Vishwavidyalay, Khairagarh
  • Member, Board of Studies, National Sanskrit University, Tirupati.

Awards

  • ‘Best Research Paper Award’ by ‘Naad Nartan’ Journal of Dance and Music for the paper ‘Presence of Hindustani Raga Music on YouTube and the Relative Positionings of the Musicians and Music Rendering Styles’ (2022)

Publications

  • The article “Impact of Globalisation on Indian Music After Independence” in the book New Dimensions in Indian Music (Kanishka Publications, New Delhi, 2012)

Articles

  • ‘Kandinsky and Mishra’s Synesthetic Approach in Portraying Music: A Comparative Analysis’ with Dr. Mukta Kulshreshtha IMEJ, International Multidisciplinary e-Journal (ISSN – 2277 -4262) in September 2024.
  • ‘Comparing Emotional Quotients: A Study of Undergraduate and Postgraduate Students in Music and Non-music Disciplines’ in UGC CARE listed journal Sangeet Galaxy (ISSN: 2319 – 9695), Vol. 13, No.2 (July 2024).
  • ‘Music Preferences and Consumption Habits Among Students of Hyderabad University: A Study Based on Digital Music Platforms’ Co-authored with Mohit Mehta in UGC CARE listed Naad Nartan Journal of Dance and Music, Volume: 12, Issue-2, April 2024 (ISSN: 2349-4654).
  • ‘Comparative Analysis of Ghazals and Nazrul Geeti: Exploring Musical and Cultural Dimensions’ co-authored with Rakiba Islam Oyshi and Saugat Mani Rasily in UGC CARE listed Naad Nartan Journal of Dance and Music, Volume: 12, Issue-2, April 2024 (ISSN: 2349-4654).
  • ‘Four Generations of Imadādkhānī Gharānā: A Critical Study of Jhālā’ in Pranav Journal of Fine Arts (ISSN- 2582-9513), Volume -2, Issue – 4, in February 2024.
  • ‘A Comparative Study of Kanhaiyā daṃgal and Huraṃgā of Rajasthan A Participant’s Observation’ in Pranav Journal of Fine Arts (ISSN- 2582-9513), Volume -2 Issue – 4, in February, 2024.
  • ‘Do the YouTube views count reflects the seniority and acceptance of Indian classical musicians within fraternity or the vice-versa?’ In UGC-CARE Listed Journal “ Naad-Nartan Journal of Dance & Music ” Volume -10, Issue-1, (ISSN: 2349-4654) , June 20227.
  • ‘Defining Hindustani Raga musicians and their relative intra statuses: An analytical study’ (published in a Web of Science and SCOPUS indexed journal ‘Rupkatha,’ Vol XIII, Apr-June, 2021).
  • Aesthetic and Literary Visualisation of Raga (published in Saam Bharati – 2019).
  • Methods and Sources of Data Collection for Research in Music (published in International Inventive Multidisciplinary Journal- 2018).
  • Divyata Ki Chhaap (Published in Bhartiyata – 2018).
  • Music Therapy: An Experiment with My Students (published in Music Therapy2011).
  • saMgIta meM dUrastha shikShaNa: saMbhAvanAeM (published in Kala Saurabh 2011).

Academic Outreach

Seminars

  • Presented a research paper titled ‘Impact of Indian Classical Music Exposure on Student’s      Cultural Intelligence: A Study Focused on University of Hyderabad Students’ at the     National conference organized by Naad Nartan at Bhatkhande Sanskriti    Vishwavidyalaya, Lucknow, from the 26-28th September 2024.
  • Presented a research paper titled ‘Tradition Redefined: Pandit Sanjoy Bandopadhyay’s Innovative Approach to Sitar Pedagogy’ at the International Seminar on Media and the   Changing Landscape of Music held during 13-14th March, 2024 organised by the Department of Instrumental Music, Rabindra Bharati University, Kolkata.
  • Presented a research paper titled ‘A Critical Review of Work Done by Indian Scholars on Computer Music During the Last Three Decades’ 5th 3-Day National Seminar on Music and       Technology organized by the esteemed organization ‘Naad Nartan’ in association with the      Ministry of Culture, Govt of India; in Jaipur, from 21st to the 23rd September 2023.
  • Presented a research paper titled ‘Exploration of Innovations and Traditional Knowledge Transfer Methods in Pandit Sanjoy Bandopadhyay’s Indian Classical Music Pedagogy: A Case Study’ at the Two-day International Conference on Indian Music (ICIM 2023) held during 6-7th November, 2023 organized by School of Liberal and Creative Arts (Films, Theatre and Music), Lovely Professional University, Punjab.
  • Presented a research paper titled ‘Comparing Emotional Quotients: A Study of Undergraduate and Postgraduate Students in Music and Non-music Disciplines’ at the          International Conference on Interdisciplinary Possibilities in Music, held during 6-7th    December 2023, organized by the Department of Music, Girdari Lal Dogra Memorial     Government Degree College, Hiranagar, in collaboration with Department of Higher Education UT J&K.
  • Presented a research paper titled “Four Generations of Imadādkhānī Gharānā: A Critical Study of Jhālā” in “Parishodhana”, the Two day National Conference on Musical Forms and Indian Music and Temple Dance traditions, organized by JAIN (Deemed-to-be University), Bengaluru (January 27th-28th, 2023)
  • Co-authored and guided a research paper titled “A Comparative Study of Kanhiyā Daṃgal and Huraṁgā of Rajasthan: A Participant’s Observation” with an MPA IV Semester student Mohit Mehta  for “Parishodhana”, the Two day National Conference on Musical Forms and Indian Music and Temple Dance traditions, organized by JAIN (Deemed-to-be University), Bengaluru (January 27th-28th, 2023)
  • Presented a research paper titled “Does the YouTube View Counts Reflect the Seniority and Acceptance of Indian Classical Musicians within the Fraternity or the Vice-Versa?” in the 4th Two day National Seminar organized by Naad Nartan in association with the Ministry of Culture, Govt. of India. (February 12 th -13 th , 2022).
  • Presented a paper at an International Seminar organized by Banglar Puratattva  Gabeshana   Kendra Kolkata on “Aesthetic and Literary Visualisation of Raga” 23/11/2018  
  • Presented a paper at an International Seminar organized by SNDT Pune on “Methods and Sources of Data Collection for Research in Music” – 06/10/2018
  • Presented a paper at an International Seminar organised by Maharaja Sayajirao  University Baroda on “svAtaMtryottara kAla meM saMgIta kA saMrakShaNa”-  29/03/16  
  • Presented a paper at an International Seminar organized by Indira Kala Sangit  University Khairagarh on “Impact of Globalisation on Indian Music After Independence”– 26/02/12  
  • Presented a paper at an International Seminar organised by Kriti Kala Sansthaan, Agra, on “Arts Funding in India”– 28/01/12  
  • Presented a paper titled “Music Therapy : An Experiment With My          Students”at a National Seminar organized by DGPG College Kanpur  – 04/12/10 

Papers Co-authored

  • ‘Ayodhya’s Kirtan Tradition and Its Socio-Cultural Aspects and Connections’ with Dr. Asmita Mishra at the 6th National conference organised by Naad Nartan at Bhatkhande Sanskriti Vishwavidyalaya, Lucknow, from the 26-28th September, 2024.
  • ‘The Significance of Print Media in Preserving and Popularizing Indian Classical Music’ with Dr. Asmita Mishra for the 5th 3-Day National Seminar on ‘Music and Technology’ organised by the ‘Naad Nartan’ in association with the Ministry of Culture, Govt of India in Jaipur, from the 21st to the 23rd September 2023.
  • ‘Kandinsky and Mishra’s Synesthetic Approach in Portraying Music: A Comparative Analysis’ with Dr. Mukta Kulshreshtha for the International Conference on Interdisciplinary Possibilities in Music, held from 6-7th December 2023, organized by the Department of Music, Girdari Lal Dogra Memorial Government Degree College, Hiranagar in collaboration with Department of Higher Education UT J&K.

Students’ Papers Guided and Co-authored

  • ‘Music Preferences and Consumption Habits Among Students of Hyderabad University: A Study Based on Digital Music Platforms’ – Mohit Mehta (Awarded Best Paper)
  •  “Comparative Analysis of Ghazals and Nazrul Geeti: Exploring Musical and Cultural Dimensions” – Rakiba Islam Oyishi and Saugat Mani Rasily (Awarded Youngest Researcher’s Award)
  • ‘Light Classical Forms in Odissi and Hindustani Music: Uncovering Similarities and Differences’ – Sai Sudeep Das
  • ‘Kanhaiyā Dangal: A Cultural Confluence of Faith and Entertainment’ – Mohit Mehta
  • ‘Exploring Hindustani Raga Music Components in Nusrat Fateh Ali Khan’s Qawwali Performances’ –  Karan Malik
  • ‘Analysis of the YouTube Presence of Hindustani Raga Music Vocalists with Special Reference to the Gender and Genre Dynamics’ – Prerana Sharma
  • ‘Structural Analysis of Taan-s in Pandit Nikhil Banerjee’s Sitar Performances: Study on selected commercial recordings’ – Saugat Mani Rasaily 

Professional Activities

  • Performed in various cities and participated in several cultural meets
  • Winner in several University level competitions and UP Sangeet Natak Academy State level competition
  • Awarded National Scholarship from the Ministry of Human Resource Development (2001)

Other Activities

  • Published literary works in Kadambini
  • Associated with two NGOs working for Indian Art and Culture
  • Worked as Director of AAROHAN (Jhansi) and Secretary of TWISHA, Jeypore (Odisha)
  • Organized programs and competitions at the state level in UP and Odisha
  • Organized workshops in schools in remote areas of Odisha and Uttar Pradesh

Bilasi-Yaman | An Accidental Raga

Born on 22 May 2024 at 9:40 a.m. IST

Sanjoy Bandopadhyay

On May 22, 2024, during an insightful musical session with Dr. Adrian McNeil, we explored the concept of how murcchanā can transition focus from the hands to the mind, effectively diminishing physical awareness while playing an instrument.

The above audio example of Bilasi-Yaman was not there till my Gurubhai Jon Barlow wrote in a message that it does not make much sense unless there is an audio demo. So, it is there now. Jon wrote the message on December 28, 2024, and the recording, processing, and uploading happened the next day, on the 29th of December.

This discussion sparked the idea of composing a raga that artfully blends the evocative moods of Bilaskhani Todi with the foundational notes of Yaman, retaining Yaman’s essential swaras: S, R, G, m (tivra), P, D, N. This fusion is straightforward and uses Nishad-Murchhana to infuse the atmosphere of Bilaskhani Todi. When Nishad-Murchhana is applied, it shifts into the Bhairavi scale, incorporating komal r, komal g, and komal-d. The resulting scale is illustrated below:

Notation System:

  • Shuddha Svaras: S R G M P D N
  • Vikrit Svaras: r g m d n
  • Tar Svaras: S’
  • Mandra Svaras: N1

Dr. McNeil suggested that this raga may be considered a Chhayalag raga. Yes, this shows a unique Chhayalag quality, where two ragas create their respective moods using the same group of notes.

For Bilaskhani Todi, the Yaman note Equivalents:

N1 = S | S = r | R = g | G = M (shuddha) | m (tivra) = P | P = d | D = N | N = S’

In Bilasi-Yaman, two types of notes and their positioning differ when depicting Yaman and Bilaskhani Todi (BT). Given that Yaman applications are well-known, we will focus on the unique note positions when invoking BT.

For example, to evoke the essence of BT’s rn1Srg, which is S ND1 N1 S R, from Yaman’s perspective, the S will adjust to reflect BT’s komal-r effect.

Another important note is that when the raga takes the course of Bilaskhani Todi, the note positions will naturally change from their Yaman positionings.

Naming of the Raga

The naming of the raga was not easy. Initially, I thought of Yaman-Todi, and later, I considered options like Yamani-Todi. But it was not good, as I wanted to compose an evening raga. Yaman-Todi or Yamani-Todi indicates association with morning because the ending is tagged with Todi, a morning raga. So, the first idea update was Bilaskhani-Yaman, which was later finalized as BILASI-YAMAN, where the ‘Bilasi’ connects to Bilaskhani Todi.

As a raga under the Yaman-veda, Bilasi-Yaman emphasizes the Yaman aspect, making it an evening raga. The innovative blending of these two ragas creates a unique and sophisticated musical experience, harnessing Yaman’s elegance with Bilaskhani Todi’s softness.

জাদু ছিল ওই দরজা পেরিয়ে…

হোয়াটস-অ্যাপের ফ্যামিলি গ্রুপে রাতুর এত সুন্দর লেখা পড়ে আমারও কেমন যেন বেশ লেখা-লেখা পাচ্ছে। এটা অনেকটা সেই খোঁড়ার অলিম্পিক দৌড়নোর ইচ্ছের মত। খোঁড়া বলে কি কিছুই করব না? অলিম্পিক না দৌড়োই, আট-দশ পা হাঁটার চেষ্টা করতে আপত্তি কোথায়?

এই তো সেদিনের কথা। তখন আমি কিছুটা ছোট সাইজের ছিলাম, আরে না না, পাড়ার হুলো বেড়ালটার থেকে বেশ কিছুটা বড়ই ছিলাম। সে কি, এতে হাসার কী আছে? মানুষকে এরকম টাক-মাথারই থাকতে হবে এরকম কোন মাথার দিব্যি আছে নাকি? বিশ্বাস কর বা না কর তখন আমার মাথা ভর্তি চুল ছিল আর ভুঁড়ি একেবারেই ছিলনা।

যাদবপুরে আমার এক স্বপ্নপুরী ছিল। হ্যাঁ, ওই সেই সাদা গোল বাড়িটা, আর তার ব্রাউন রঙের দরজা, একটা গোল হাতল যেটা ঘোরালেই দরজা খুলে যেত, আর সেই দরজার ওপরে পিতলের ফলকে লেখা 37/5 জ্বল-জ্বল করত। বাড়ীর সামনে এক-ফালি জমি, তাতে কিছুটা বাগান, জমি পেরিয়ে লাল সিমেন্টে সবুজ বর্ডার দেওয়া বারান্দা। জাদু ছিল ওই দরজা পেরিয়ে।

এটাই ৩৭/৫ ইব্রাহিমপুর রোডের বাড়ির প্রথম দিকের চেহারা, যার পরে কিছু বদল হয়েছিল।

দরজা পেরিয়ে ছোট্ট একটা ঘর, এ ঘরের চেহারা মাঝে মাঝেই বদলাত। কখন তাতে পড়ার টেবিল, কখন বসার জায়গা, কখনো খালি, কখন মোটর-সাইকেল, কখন কোন সকালে টেবিলের ওপর চেয়ার চড়িয়ে তার ওপর ছোট্ট দাদার গ্যাঁট হয়ে বসে মহারাজ হয়ে যাওয়া, বা দেখিয়ে দেখিয়ে মজা করে অল্প অল্প নুন খেতে খেতে ছোড়দির গুন-গুন করে গান গাওয়া। জিজ্ঞেস করলাম, “কি খাচ্ছিস রে?” উত্তর এলো “খাবি?” বললাম, “হ্যাঁ”। “তাহলে চোখ বন্ধ করে হা কর।“ তার পর মুখে এক মুঠো নুন ঠুসে দেওয়া — হা হা হা হা হা।      

ছবিতে যাদের দেখা যাচ্ছে সে সম্বন্ধে ছোড়দি [সমাপিকা] জানাল যে বাঁ-দিক থেকে ডান দিকে, (১-২) দাদা [মহীরূহ]  ছোড়দিকে [সমাপিকা] ধরে দাড়িয়ে, (৩) দিদি [স্বাগতা] , (৪) সেজদি [সীমন্তিকা],  আর (৫) মেজদি [সুশান্তা । [৩০ ডিসেম্বর, ২০২৪]

সঞ্জয় বন্দ্যোপাধ্যায় ৽ কলকাতা ৽ ২৮শে ফেব্রুয়ারী ২০২৪      

আরেকটু : লেখা প্রকাশের প্রায় ১১ মাস পর ছবিটা জুড়ে দিলাম। ছবি পরিচিতি আরও দিন দুয়েক পরে।

Musical Translation

Music is a creative expression of human experiences, a medium of expression applying different skill sets. So, music mostly tries to express human experiences and emotions as approximate and creative translations.

The following audio-video mix aims to create musical visualizations of raga music quickies. These videos are recreations of music in visual forms. These videos surely are not examples of reverse engineering but may be termed “Creative Reverse Engineering”, where the music is a source of fresh ideas expressed in non-music media.

Moonlit Night with Chandni-Kalyan
Musical Translation-II

Best Paper Award to Pragya

I am indeed thrilled that on September 23, 2023, Naad Nartan felicitated Dr. Pragya Pyasi with the Best Paper award for their 2022 National Seminar organized in collaboration with the Ministry of Culture, Government of India.

Pragya is the first among my disciples to get felicitated for excellence in
academic writing!

Her paper titled ‘Do the YouTube Views Count Reflects the Seniority and Acceptance of Indian Classical Musicians within Fraternity or the Vice-Versa?’ was published in UGC CARE Listed Naad-Nartan Journal of Dance & Music [ISSN:2349-4654], Vol-10, Issue-1, June 2022, DOI: https://zenodo.org/record/7056304

Pragya is the first among my disciples to get felicitated for excellence in
academic writing!

Here is an insertion from a Facebook post of September 26, 2023.

Dr. Pintu Saha [pen name Pramit], Head of the Department of Music at Assam Central University, commented below…

Partially auto-generating publishable good-quality materials

Sanjoy Bandopadhyay

Concept basis

India has enough human resources to match or can be quickly updated to match most of the publication requirements.

Expected benefits

This document will assist in managing the academic publication system for the community that can use AI to its advantage. The identified difficulties during the process will generate areas where the AI developers may focus on and update AI support for publications.

The concept

One can maximize the time economy by generating an AI and chosen HR-supported system for publication management. This system should develop acceptable quality publishable materials in larger quantities.

India has substantial human resources to employ HR intelligently to its advantage. One can generate an algorithm for the work. The publication management will include the following:

  • intelligent work distribution to HR
  • introducing available Artificial Intelligence to the advantage

One can:

  1. painstakingly list the whole process in minute details
  2. create several alternative methods for a single stage
  3. Frame a good number of templates, wherever applicable, for each section of the process, e.g., content production, error detection, statement of compliance, and statement of deviations.
  4. Frame the responsibility distribution policy for different preparation, production, and distribution stages.

A. Content Production

  1. Topic generation
    1. Topic idea distribution
  2. Generating structure and alternative structures of paper-collection or chapters.
  3. A good number of content creation templates for different types of content generation.
  4. Different combinations of guidelines for generating different writing templates.
  5. Method of combining components in templates to match authors’ preferences.  
  6. Applications of AI in content generation.

A1. Error detection system and statement of compliance and deviations

  1. A straightforward method to detect compromises in maintaining the system.
  2. Authors’  declarations on adherence to the content generation policy and deviation areas, if any, to comply with any specific paper’s inherent requirements.

B. Editorial Policy

  1. A detailed editorial policy requires to be framed.
  • The sub-editors must ascertain the use of the editorial templates.
    • The sub-editorial report will include several questions that have MCQs and short reports.
  • Declarations of the Sub-editors on maintenance and deviations from the policy.
  • The Section Editor, after satisfactory validation, will send for copyediting.
  • After successful validation of the copyedited manuscripts, the article or chapter may be selected for publication.

C. HR identification

  1. Essential qualities of execution of a part above in A and B.
  2. Identification method to pinpoint HR with required qualities and attitude.
  3. Work distribution policy.

The expected outputs of this document

The output of this planning will be a detailed publication manual with detailed indexing. With its detailed indexing, this manual will help HR with guidance for utilizing AI and generating probable answers to most issues during the production, validation, and distribution processes. 

Selected Papers Presented in Seminars and Conferences

  1. Distance Education in Indian Music: Feasibility and Prospects – This paper was read as the concept paper in the International Seminar on Distance Education in Music held at Bharat Bhavan, Bhopal, from  27 to 29 November 2000 [DOI: https://doi.org/10.5281/zenodo.7143365]
  2. INDIA, MUSIC, AND INTERCULTURAL INTERACTIONS – The paper was presented at the UNESCO World Conference held at Jyväskylä, Finland, from 15 to 18 June 2003. [DOI: https://doi.org/10.5281/zenodo.7142815]
  3. The Sitar and the Academy: Teaching Traditional Music in a University Setting – This paper was presented in 2005 at MillerCom Lecture Series of the Center of Advanced Studies at the University of Illinois at Urbana Champaign [USA]. [DOI: https://doi.org/10.5281/zenodo.7151423]

বুড়ি ও বুড়ো

রচনা: কেমনামি বোকানি 

একটা ছিল বুড়ো, একটা ছিল বুড়ি। 

থুড়ি,  

একটা ছিল বুড়ি আর একটা ছিল বুড়ো,

একজন গাইত গান আর অন্যটা বাটত মুড়ো। 

দুটোই ছিল পাগল, একটা সেয়ানা আর একটা আস্ত, 

কে যে কোনটা সেটাই ধাঁধাঁ। 

ধাঁধাঁর  উত্তর কেউ বলেনা, 

বললে পরেই পড়বে হানা,

আরে না না না না। 

বুড়ো বুড়ির আড়ি হবে,

ভাববে তারা, 

আমার ঘাড়ে ওরটা কেন পড়ে?

আস্ত হই বা সেয়ানা, কার তাতে কি?

জমিয়ে থাকি এটাই বড়,

নইলেই বিপত্তি।   

কলকাতা | ১৫.০৯.২০২১

ক্ষেত ভরে যাবে শস্যে

আমি জানি,

তোর ক্ষেত ভরে যাবে শস্যে,

সে বর্ষা নামুক বা না নামুক।

আমি জানি,

তোর কাছে আছে সেই চাবিকাঠি,

যাতে জল আছে, আছে প্রাণ।   

তোর জলের স্নেহে আসবে নতুন পাতা,

তরতরিয়ে উঠবে নতুন শাখা,

গুন গুনিয়ে আসবে ভোমরা

আসবে রঙিন প্রজাপতি

গাইবে পাখি, আসবে তারা ঝাঁকে ঝাঁকে। 

তোর বাগান উঠবে মেতে,

সে বর্ষা নামুক বা  না নামুক।

কলকাতা, ০৭ অক্টোবর ২০২১