Arnold (1992) even found that Hindi film song was an identifying mark of Indianness. According to her, the Hindi film song provided all Indians with a popular, modern and distinctly national music with which they could identify and which reflected, in the intent of its composers, the desire for a new Indian nation and identity national. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay While trying to explain the eclecticism found in Hindi songs, he made some key observations: the first concerns the musical basis of Hindi film songs, such as its musical structure and vocal style which comprises fundamentally Indian elements; the latter refers to additional factors such as scale patterns, rhythms, and instruments that differentiate individual songs and draw on any number of foreign and indigenous music. He cites two examples of Hindi film songs in which film music directors Salil Chaudhury and Vasant Desai make some changes to Western-based instrumental music compositions and integrate them with Hindustani classical music. To explain the eclecticism in native film song compositions, he cites the work of music director Ghulam Haider who first introduced native 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-Marxist theoretical interpretations and seems 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 although we found a clear separation between the works of these two authors. Arnold (1992) based his work on modernist terms while Manuel laid the foundations on post-critical theory. Indeed, 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 (p 55-59) as well as attempting to explain the reuse and recycling of songs within and between many genres of South Asian music. In addition to these two major studies, a number of smaller works have been done on Hindi film musicals although the sample size is very small. For example, Skillman's (1986) historical survey of Bollywood musicals covered the same ground that Arnold had covered in his work. Cooper (1988) similarly discusses the use of song from the perspective of a director such as Guru Dutt. At the same time, Beeman (1981) examines Hindi film song compared to Hollywood film music. Barnouw and Krishnaswamy's (1980) study of Indian film narrative, while not exclusively delving into film songs, 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 discusses how the director combined music with narrative in the film Awaara (1951) directed by Raj Kapoor. Kabir (1991) also produced much literature, although some of it was never 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 relate film music in the context of its appearance and influence of 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 strengthened the post-critical theoretical aspects of Hindi film music. Although Morcom acknowledged in his book Hindi Film Songs and the Cinema that many universities in India have done several theses on film music, he regrets that none of them ever got a chance to be published (2007: 9). He points out that Professor Pradeek Kumar Dixit completed the first dissertation on this topic in 1978 at Banaras Hindu University. Dixit is perhaps the first Indian author to place film music on modernist and traditionalist foundations, and probably the first to describe the use of sources of Indian classical music, Indian folk music and Western music in the style of Hindi film songs . Sinha (1991) and Dasgupta (1998) were some researchers who had discussed the use of music in Hindi film songs in a limited way. While Dasgupta discussed how Indian music has been an inspirational force for people in learning music in India, Sinha focused his work on how Naushad's music has contributed so much to Indian film music. He primarily focused his study on how Naushad had produced hybrid musical genres by combining folk and classical styles, Western-style instruments and orchestrations to create atmosphere and effects relevant to the drama and setting of the songs. Vasudevan (2000) characterizes the hybridity of Hindi film by identifying the combination of Hollywood realist continuity codes that push forward 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 cinematic codes convey meaning in different ways and create different effects. Also note that song sequences tend to contain more stasis, more iconic shots and tableaux. Morcom (2007) states that if the music of the song connects to the narrative, then these different narrative styles can help us better understand the musical style in songs. For most of his interpretations of Hindi film songs, Morcom depended directly on the theoretical framework enunciated by Brooks and Elsaesser (1991) on the role of music in melody. Dutta (2009) in his study on how technologies negotiate nationalist identities through ‗Hybridization' of music in Hindi film songs identified that films like Laggan (2001), Kal Ho Na Ho (2003), Swades (2004) and Rang de Basanti (2006) produced music that combined folk, traditional, classical as well as Western classical. He also found that the folk, traditional and classical were loosely demarcated from the Western classical and were in direct correlation with the film's narrative. He says that "music very clearly becomes a cultural marker of difference through the citation of supposedly Western classical music compared to scenes referring to the encampment of the English in the film Lagaan (2001). Hughes (2007) found that the musical recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. He was of the opinion that the music recording industry not only transformed Tamil dramatic music into a product for mass circulation before the. the advent of sound, but also mediated the musical relationship between Tamil drama and cinema, paving the way for the creation of cinematic songs of a new and distinct genre of popular music Jha (2003) in his work described pop songs in Indian films, as meta narratives, which allow viewers to create meaning within the larger, sparser and more melodramatic filmic space. As a result, he says, they deliver,.