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साहित्यपोस्ट विद्युतीय पत्रिकाको खुला मुक्तक प्रतियोगिताको चौँधौँ संस्करणमा ढुङ्गाना पिपला, मनिभक्त राई र भद्र घर्ती सर्वोत्कृष्ट मुक्तककारका रूपमा चयन भएका छन् ।यसैगरी केबि पारखी, भक्त रेग्मी, कोकिला चौधरी, पोखरेल उमाकान्त उपविजेता बनेका छन् ।त्रिभुवन विश्वविद्यालयका प्राध्यापक डाक्टर एवं साहित्य अन्वेषी लक्ष्मणप्रसाद गौतमको नेतृत्वमा बसेको चार सदस्यीय टोलीले रीतपूर्वक प्राप्त भएका मुक्तकहरूमध्येबाट सबैभन्दा बढी अङ्क प्राप्त गर्ने आर पी गाउँले, युवराज भण्डारी र सुरज गैरेका रचनाहरूलाई सर्वोत्कृष्ट घोषित गरेको हो ।

डा. लक्ष्मणप्रसाद गौतमको नेतृत्वमा रहेको उक्त मुक्तक प्रतियोगिताको निर्णायकहरूमा पद्मकन्या कलेजकी उपप्राध्यापक ज्ञानु अधिकारी र साहित्यपोस्टकी मुक्तक सम्पादक निशा केसी रहेका छन् । चार जना निर्णायकहरूको निर्णयलाई साहित्यपोस्टका प्रधानसम्पादक अश्विनी कोइरालाले सहजीकरण गरेका थिए ।प्रधानसम्पादक कोइरालाले काव्य विभागलाई भने, “तोकिएको नियममा रहेर १३ मुक्तक प्राप्त भएका थिए । केही मुक्तकहरू नियमबाहिर रहेर पनि प्राप्त भएका थिए ।”पछिल्लो समय मुक्तककार आफैँले तोकेको विषयमा मुक्तक पठाउन सकिने सुविधा दिइएको थियो । यसलाई पाठकले खुब रूचाएको अनुभव गरिएको छ ।

५० सातासम्म चल्ने यस प्रतियोगिताबाट हरेक साता सर्वोत्कृष्ट हुने मुक्तकहरूलाई समेटेर वर्षका चर्चित मुक्तकसङ्ग्रह प्रकाशन गर्ने योजना छ । हरेक साता तीन मुक्तकका दरले एक वर्षमा उत्कृष्ट हुने ४ सय ५० मुक्तकहरूमध्येबाट पनि सर्वोत्कृष्ट तीन मुक्तकहरू छानेर त्यस्ता श्रष्टालाई सार्वजनिक अभिनन्दनसहित नगद पुरस्कार दिने योजना पनि बनाइएको छ । छानिएका ४ सय ५० मुक्तकको पुस्तकसमेत प्रकाशन गरिनेछ ।विजेताहरूलाई साहित्यपोस्ट, काव्य विभाग हार्दिक बधाई ज्ञापन गर्दछ । साथै मुक्तक प्रतियोगितामा भाग लिने सबैमा आभार प्रकट गर्दछ ।

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Robert Hogan – Artbees Themes

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Robert Hogan – Artbees Themes

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BHAKTAPUR: Nepal’s ancient city of Bhaktapur has, from Thursday, started early celebrations to welcome the Nepali New Year with music and festivities.

On the eve of the formal start of Biska Jatra, the nine-day-long festivity of the ancient city of Bhaktapur, dozens of denarians and vicenarians performed a synchronised musical performance.

Every beat of the Dhime, the traditional double-headed cylindrical drum, tells a different story, and the dance narrates a story which carries its own significance.

“The performance was made by the Newa community. It is performed to welcome the Nepali New Year, the Bikram Sambat. It is performed by Newars in their traditional attire, which is generally understood as Newa dress (the Haku Patasi),” Manish Ghimire, an attendee of the cultural performance on the stairs of Nepal’s tallest temple, the Nyatapola, told ANI.

The temple, which stands in the ancient Taumadhi Square of Bhaktapur, is packed with revellers and devotees during the Biska Jatra, which, as per folklore, signals the arrival of the Nepali New Year.

“It was really cool. Every single person was dancing in a well-coordinated way, and there was not even a single mistake made by the performers, which made it really nice to watch and beautiful as well,” Ghimire added.

Biska Jatra, one of the popular religious festivals of Kathmandu Valley, starts with the ascension of Lord Bhairab onto a chariot built in front of the Nyatapola temple, the tallest temple in Nepal. Two groups of locals struggle to pull the chariot to either side amid a show of strength, which has been followed for ages.

The three-storey chariot, made of wood in the pagoda style, is pushed and pulled around the settlements with the statues of Bhairavnath and Betal as a part of this festival. This festival of cultural and historical importance is celebrated for nine days and eight nights.

Believed to have started during the Malla Dynasty, Biska Jatra formally starts four days before the beginning of the Nepali New Year.

According to a myth, whoever marries a local princess dies on the very first night of the marriage. Later, a brave young man married the princess. During the night, two snakes attacked him, and the young man killed them.

Biska Jatra is the only festival that does not follow the lunar-based Nepali calendar. It commences after a special Tantric ritual is performed in the Bhairab Temple in Taumadhi Tole in Bhaktapur. (ANI) https://english.nepalnews.com/s/history-culture/bhaktapur-kicks-off-biska-jatra-festivities-to-welcome-nepali-new-year-with-traditional-music-and-dance/

KATHMANDU: “Maybe we are not outdated but simply less heard in a time that moves too quickly.”

Singer and composer Deep Shrestha voiced this concern to the media after releasing his album Shrinkhala in 2002.

Much has changed since then. Complaining about songs not airing on radio or television no longer holds meaning. At least broadcasters once made editorial choices. Today, algorithms rule. This is the age of 10- to 60-second Reels, YouTube Shorts, and TikTok clips driven by catchy hooks. One swipe brings a song like Makai Bari Daryam Daryam, the next Katta Handinchhu.

Creators now face psychological pressure to seize attention within seconds or risk fading into obscurity. Song durations continue to shrink, while endless scrolling habits test our patience to sit with a melody for long. Speed has increased with time, but what about musical depth?

Poet and lyricist Shrawan Mukarung, known for Sun Re Siyaram and Rai Maila Le Gaun Chadyoo Re, questions whether the new generation is investing enough artistic effort and seriousness into music.

Veteran singer Gyanu Rana, who witnessed the golden era of modern Nepali music, echoes that concern. She recalls that songs once required a month of rehearsal. Today, she says, the patience, dedication, and sustained practice seem diminished. Rana is celebrated for classics such as Manchheko Maya Yaha and Sirima Siri Ni Kanchhi.

Singer and composer Swaroop Raj Acharya, active for three decades, observes a surge in songs crafted primarily to go viral. With social media shaping success, artists feel compelled to capture attention within 30 seconds. Naturally, music is being tailored to fit that demand.

In such an environment, pressing questions arise. Are meaningful songs still being created? Where has the melody gone? Where is the literary richness that once defined modern music? And where is the discipline and devotion that shaped the legacy of an earlier generation?

From top left: Shanti Thatal, Amber Gurung, Phatteman Rajbhandari, and Gopal Yonzon. Photo: YouTube

The very mention of modern Nepali music brings to mind the timeless, melodious works of legends such as Bachchu Kailash, Nati Kaji, Shiva Shankar Manandhar, Amber Gurung, Narayan Gopal, Manik Ratna, Prem Dhoj Pradhan, Phatteman Rajbhandari, Gopal Yonzon, Shanti Thatal, Aruna Lama, Tara Devi, Deep Shrestha, Bhakta Raj Acharya, and Dibya Khaling.

Modern music emerged as a distinct genre after the establishment of Radio Nepal in 1951. In its early years, radio programming relied heavily on Hindi songs and ghazals, leaving Nepali listeners with limited local options. Recording facilities were scarce, and artists often had to travel to Kolkata, India, resulting in very few Nepali gramophone records.

Prominent figures of that era included Ustad (an honorific title for an expert person in classical singing and instrumental playing). Seturam Shrestha, Mitrasen Thapa Magar, Melawa Devi Gurung, Ratna Das Prakash, and Ustad Saina Shrestha. Performers were required to appear in the studio and deliver live renditions.

Recording infrastructure improved significantly after the establishment of the Ratna Recording Institute in 1961 and the installation of a modern studio at Radio Nepal in 1968 or 1969. This period marked a creative high point for Nepali music. Beginning in fiscal year 1965, Radio Nepal also organized national song competitions, which played a crucial role in formally recognizing modern music as a separate genre.

Before modern music took shape, Nepal’s musical tradition was rooted primarily in oral transmission and classical forms. Modern music arose with expanded access to new technology. It was neither strictly classical nor purely folk. While Indian musical influence was natural, especially when recording had to be done in India, Nepali creators also felt a strong social and psychological drive to craft original compositions.

Singer and composer Ujjwal Sagar states that Radio Nepal’s songs significantly reduced the dominance of Hindi music in Nepal and helped establish modern music as a distinct genre, calling this a major achievement in itself.

Modern songs drew not only from Eastern classical and folk traditions but were also influenced by Rabindra Sangeet and Western music. Yet they developed a distinctly Nepali character. Composer and writer Aavaas, in his article The Melody of Nepali Music, argues that after Radio Nepal’s founding, artists increasingly sought originality, driven by emerging linguistic and ethnic consciousness that shaped questions of identity in their work.

Radio Nepal Studio. Photo: YouTube

An example of this cultural interplay was the banning in India of Nau Lakh Taara Udaaye, composed and sung by Amber Gurung with lyrics by Agam Singh Giri, and the subsequent invitation extended to Gurung by King Mahendra to come to Nepal.

Poet Bairagi Kainla, writing in the Amber Gurung Smritigrantha, observes that the new path poets were seeking in Nepali literature was something Gurung discovered through music. Professor and critic Abhi Subedi notes that Gurung’s most experimental period in music coincided with the phase when Nepali poets were exploring modernity in literature.

Modernity was entering literature and other art forms alongside music. The two principal centers of modern music were Kathmandu and Darjeeling, India. Over time, these parallel explorations merged. After Gurung’s arrival in Nepal, many of his disciples and fellow musicians followed, and through shared experimentation and craftsmanship, modern music evolved into a distinctive genre.

It was an era when singers, composers, lyricists, and instrumentalists gathered together to rehearse and perform, fostering creative exchange. Many enduring, high-quality songs emerged from this collaborative environment.

A collection of modern music cassettes

Composer Deepak Jangam, active for six decades, explains that the lifestyle, ideals, and goals of that time differed greatly from today, which shaped the outcomes. Known for songs such as ‘Gajalu Ti Thula Thula Aankha’ and ‘Yeti Dherai Maya Diyi,’ Jangam says music was once treated as a form of devotion, where earning meant recognition rather than profit, whereas today business drives the industry and the desire for instant hits dominates.

Composer and singer Kali Prasad Baskota says new purposes have entered music. Earlier, the main objective was to create a good song. Now, branding in a short time, earning money, and doing concerts have been added. He believes the time once devoted to creation is shrinking and sees the tendency to treat music like content creation as the core problem. According to him, the old legacy of modern music is already in crisis. The composer of Saili and Laija Re stresses that musicians must reconnect with literature, society, and socially aware individuals to produce high-quality work.

Modern and pop music CDs and cassettes. Photo Credit: Anil Sthapit

Singer Swaroop Raj Acharya also believes standards have declined as literature has drifted away from songs. He explains that modern music is defined by the union of melody and poetry, and listening to melody-oriented songs requires a calm body and mind. With technology accelerating consumption, that patience is fading. Personally, he says he remains committed to quality and continues to record an average of five songs a week. Musical trends, he adds, shift with socio-political change and technology, and artists must adapt without compromising standards or purpose.

Composer Jangam, who has worked across generations, says his output remains steady at about 20 to 25 works on average. He maintains that both senior and emerging artists are actively creating modern songs. Today, figures ranging from Deep Shrestha, Uday and Manila Sotang, Anju Panta, Satya Raj Acharya, Shiva Pariyar, and Pramod Kharel to Melina Rai, Ujjwal Sagar, Sujan Chapagain, Menuka Poudel, Asmita Adhikari, Rachana Rimal, Samikshya Adhikari, and Prabin Bedwal are engaged in the modern trend. Some songs become popular, yet broader evaluation of quality is rare, as media and social platforms focus mainly on hits.

From top left: Swaroop Raj Acharya, Anju Panta, Ujjwal Sagar, Banika Pradhan, Kali Prasad Baskota, and Melina Rai. Photo Courtesy: Artists/Facebook Page

After the end of Radio Nepal’s monopoly, the expansion of private FM stations and television in the mid-1990s helped audiences track new releases. Amid pop, rock, rap, and Dohori (a competitive Nepali folk genre featuring fast-paced, improvisational lyrical duets between male and female teams), modern music icons such as Phatteman Rajbhandari and Deep Shrestha produced enduring hits. Songs by Ram Krishna Dhakal, Yam Baral, Rajesh Payal Rai, Sharmila Bardewa, Sapana Shree, and Jagdish Samal resonated widely. The atmosphere even encouraged pop background artists like Karna Das of Madhhyanha and Bivek Shrestha of Kandara to release modern albums.

With digital media, dependence on traditional platforms declined, and piracy emerged as a challenge. Ujjwal Sagar considers another issue even more damaging: the growing practice of singing on tracks rather than performing live. He argues that carrying pen drives and performing to recorded tracks has weakened the modern tradition. Recently, the sector has become concert-oriented again, with many solo artists appearing alongside bands. Sagar, known for ‘Timi Khusi Ta Chhau Ni Bhana Na,’ has already held two concerts in Kathmandu this year and believes live performance is essential for revival. He says a well-composed song sung live with musicians and improvisation is more likely to remain in listeners’ memories.

For two decades, the program Paleti, run by Nepalaya under composer Aavaas, has promoted live modern music by featuring both new and established artists. Singer Gyanu Rana, who performed there last November at age 76, attributes the strength of earlier songs to live performance and believes the current generation lacks sufficient live singing ability.

Gyanu Rana performing at Nepalaya’s Paleti. Photo Courtesy: Nepalaya

Some people label modern music as Sugam Sangeet, often translated as ‘easy’ or ‘accessible music.’ Yet there is a growing sense that even this stream has struggled to carry the depth once associated with earlier modern compositions. Singer Swaroop Raj Acharya rejects the idea that Sugam simply means easy listening. “Sugam implies easy music, but it demands knowledge of classical, folk, jazz, and blues traditions,” said Acharya. “That is why the term ‘modern music’ feels more accurate.”

Fashion and music move in cycles. What appears new eventually fades, and what seems old returns in another form. From earlier remixes to today’s retro revival, music never fully detaches from its past. In that context, the question arises whether the modern music of yesterday is the same as that of today. “That was the modern music of yesterday’s generation,” said Acharya. “Whatever the current generation creates in its own way is what defines modern music today.” He added that the duty to create meaningful and lasting songs remains as strong for today’s musicians as it was for their predecessors.

From left: Harka Saud, Deepak Jangam, and Shrawan Mukarung

Composer Kali Prasad Baskota believes the very definition of the older modern trend is evolving. “Time keeps redefining music,” said Baskota. “The moment has come to interpret modern music within a new context.” He noted that earlier generations had limited musical sources, while today’s artists are exposed to global genres and naturally incorporate those influences into their work.

Lyricist Mukarung accepts that outside influence is inevitable but cautions against drifting away from Nepali musical traditions. “The new generation itself must take initiative to bridge the generation gap visible in music today,” said Mukarung.

Harka Saud, who has collaborated with younger singers and composers, argues that one defining trait of the modern tradition was giving songwriting its own respected space. He stresses that literary strength must not be neglected. “The previous generation created powerful works with layered, metaphorical language, melody, and vocal expression,” said Saud. “That is why those songs are still heard today.” At the same time, he observes that some contemporary songs resist clear classification. “Everyday speech is entering lyrics, but it is being used in unconventional ways,” said Saud.

Daami Music app. Photo Courtesy: Daami Music

Saud, known for writing songs such as Teenpatey and Unko Sweater, believes meaningful music is still being created, though in limited numbers. He compared such songs to a rare bird hidden in thick mist, easily overlooked unless amplified through Reels, YouTube Shorts, or TikTok.

This raises a deeper concern: how can music be evaluated if it is never truly heard? Modern music, in this sense, feels alive but faint, as though its pulse is growing weaker beneath the noise of aggressive promotion. In the past, Deep Shrestha had remarked that their songs were being played less frequently. Today, artists like Swaroop Raj Acharya and Ujjwal Sagar express a similar worry, saying their songs are being seen and heard less.

There remains hope that this period of transition will pass. Amid the surge of viral trends, songs rooted in melody and literature may yet find stable ground again and continue to inspire future generations. https://english.nepalnews.com/s/entertainment-lifestyle/modern-music-evolution-or-erosion/

However, Nepal’s folk music faces many challenges. Interest in folk music is steadily declining, and there is a significant lack of formal education in this field. Furthermore, the culture of giving credit to original creators is rarely practiced, leading to a decline in the respect and recognition they deserve. These factors contribute to a loss in the cultural and social significance of folk music in our society.

Today, folk music is being overshadowed by modern genres like Pop, Rap, Jazz, Rock, Blues, and fusion music. Popular artists and bands such as Sajjan Raj Vaidhya, Samir Shrestha, and Sopna Suman tend to focus on pop music, while many others gravitate towards rap and rock. As a result, contemporary music dominates the Nepali music scene, pushing folk music further into the background. Many traditional instruments and songs are being forgotten due to a lack of awareness and knowledge. Skills required to play these instruments are disappearing in many communities. Meanwhile, educational institutions often focus on Western music rather than Nepal’s rich folk heritage.

Despite these challenges, there have been promising efforts to revive and promote folk music. The formation of folk bands and platforms like Dohori Saanj serve as encouraging examples. Additionally, the rise of social media has made it easier to share and promote folk songs with a broader audience. These platforms offer a modern space for folk artists to showcase their work and gain recognition. Nepali folk music holds various cultural aspects, often reflecting rural life, traditions, and rituals. Genres such as Dohori, Jhyaure, and Asare carry great significance and have been passed down through generations. Yet, Western music continues to dominate Nepalese society. Most institutions, media outlets, and artists tend to promote Western styles, leaving less room for traditional music to thrive.

A concerning trend among today’s youth is the preference for songs that often lack depth and meaning. Many of these songs, which are growing in popularity, contain harsh or negative content that can influence society in undesirable ways. Moreover, many artists produce music without proper knowledge of music theory. While advancements in technology like auto tune have allowed for better sound quality and viral success, the overall musical value of many of these songs remains questionable. Unfortunately, this shift in musical taste is drawing attention away from the richness of Nepal’s folk traditions.Singers like Sujan Chapagain, Kuma Sagar, Prakash Dutraj, Prakash Saput, Deepak Bajracharya, Isbal Sanjyal, etc. are promoting folk songs, music, and instruments. Some of them are promoting traditional styles and some of them are giving modern touch to traditional styles.  That said, several solutions can help preserve and promote folk music in Nepal. For example: Incorporating folk music into music schools and college curriculums to encourage learning and appreciation, Supporting folk artists financially and through government initiatives to sustain their craft, Providing platforms for folk musicians to showcase their work, both online and offline, Balancing commercial music growth by promoting traditional genres alongside modern ones.

In conclusion, while folk music in Nepal is facing numerous challenges, these issues can be addressed through strategic and cultural efforts. By combining education, modern platforms, and support for traditional artists, we can preserve our folk music and ensure it thrives in the digital age. Embracing innovation while staying rooted in our culture is key to keeping this valuable tradition alive for future generations.

In 2017, singer Muskan Ranabhat enrolled at Ratna Rajya Laxmi Campus, Tribhuvan University, to pursue her Bachelor’s degree in music. She expected to study various areas of music, including music technology, music production, different instruments, and elements of Western music. However, her expectations were not met. She was compelled to focus solely on Eastern music, specialising only in vocals, as the university’s curriculum was limited to that.   

“Music education was not as fruitful as I hoped,” says Ranabhat. “I wanted to learn the diverse side of music, but the course did not allow me to do so.” 

The formal education of music in Nepal was started after the establishment of Padma Kanya High School, which was formally opened in Kathmandu in 1947 AD. However, the development of formal music education appears to have progressed slowly after that initial step. The launch of music education at Padma Kanya High School marked the beginning of a structured academic program in music in Nepal. Later, the establishment of Nepal Sangeet Maha Vidyalaya in 1957 under the auspices of the Nepal Sangeet Parishad became another pioneering step, serving as the first dedicated music college in the country.

Currently, Tribhuvan University and Kathmandu University provide formal education on music in Nepal. Kathmandu   University   started   conducting   undergraduate   and   postgraduate    courses   in ethnomusicology  in  1996. 

While music as a career is still a topic of discussion in Nepal, its education, teaching pedagogy, and curriculum are also a matter of growing concern among students, educators, and working musicians.

Universities in Nepal are often criticized for internal politics, outdated teaching pedagogy, delays in examinations and results, and obsolete curricula—regardless of the faculty, whether it be engineering, medical science, management, social sciences, or music, as music education is no exception. 

Curriculum lacks direction

According to Shishir Uprety, Principal at Nepal Sangeet Vidhyalaya, it is already late to revise the music curriculum. AI has already begun making a strong impact on the music industry, yet the existing course does not address this development.

“University-level education is focused mainly on Eastern music, but the current generation is not interested in learning traditional music,” says Uprety. “They are heavily influenced by Western music. Many students are going abroad to study music because they can’t find advanced courses in the country.”

However, Uprety does not imply that classical or Eastern music is unimportant. Instead, he emphasizes the need to make these forms relevant through fusion.

“We should promote Eastern music, but our courses also need to be relevant to the times,” he adds.  The course should address the needs of students whether they want to learn western music, music technology and among others.”

Musician Rajan Shrestha, also known as Phatcowlee, highlights the lack of academic discourse on music.

Like Uprety, Shrestha also sees the need to update the curriculum and believes it should have a clearly defined objective. He also points out that music students should be introduced to new literature and courses that teach critical thinking. 

“The curriculum lacks clarity on whether it aims to produce performing artists, researchers, or educators,” says Shrestha, who holds a master’s degree in ethnomusicology from Kathmandu University. 

Echoing Shrestha, Krishna Kumar Kharel, Assistant Campus Chief and Head of the Music Department at Lalit Kala Campus, also emphasizes that unless the curriculum clearly defines whether its goal is to produce musicians, academicians, or researchers, the development of music education will remain stagnant. 

Professional gaps persist

According to Kharel, another major problem with music education is that it does not teach students about professional aspects such as music management, commercializing music, and creating value for one’s work. 

“Music is not merely about singing; students should learn these things too,” says Kharel.  

 Musician and Associate Professor at Kathmandu University’s Department of Music, Lochan Rijal, appears fairly satisfied with the overall direction of the course. He says the music education provided by KU has a broader scope, as it not only develops students’ performance skills but also encourages them to view music as a cultural phenomenon.

“The course we offer is action-oriented,” says Rijal. “It complements both performance and research in parallel.”

However, Rijal also acknowledges certain gaps in the curriculum.

“The course is not sufficient enough to hone students in research and development,” he says. “It also does not do enough to promote our music or to standardize local musical instruments.”

Besides the curriculum, another challenge of music education, according to Uprety, is that all academic institutions offering music education are centered in Kathmandu, which deprives those from outside the Kathmandu Valley of access to such education.  

Policy-level apathy

Uprety also laments the attitude of university authorities and the government toward music education and music as an art form.   

“The government and university authorities have always failed to take music seriously,” says Uprety.

Shrestha and Kharel share similar views.

“Those in positions of authority have yet to realize that music is not merely a form of entertainment — it also plays a crucial role in promoting and preserving both tangible and intangible heritage,” says Shrestha.

Kharel adds that university authorities are still not serious about music education and continue to deprioritize the faculty.

According to the Journal of Fine Arts Campus (2025), published by Tribhuvan University, funding for music education at Nepali universities has consistently relied on government support, leading to persistent challenges due to budgetary constraints. Current music colleges and universities have struggled to develop effective curricula, manage examinations, and engage in meaningful research.

“Formal music education, an integral part of our national cultural heritage, is currently facing significant challenges due to inadequate human and financial resources allocated for research and study — despite having sufficient physical infrastructure,” the journal states. “Organizations responsible for music education seem to lack enthusiasm and motivation in effectively planning, managing, executing, and evaluating the resources at their disposal.”

Asha Bhosle, widely regarded as the ‘Voice of Bollywood’, has passed away at the age of 92. She has also voiced various Nepali songs that remain at the heart of the country’s musical landscape.

According to Hindustan Times, she was admitted to Mumbai’s Breach Candy hospital on Saturday, April 11, after experiencing cardiac and respiratory issues. The report says the singer had not been keeping well for the last few months and was brought to the hospital in a critical state, and was admitted to the ICU on Saturday night.

Her son Anand confirmed the news of her passing on Sunday.

Born in 1933 into the Mangeshkar family, Bhosle began her career at a young age. By the time she was 9 years old, she had started singing professionally, recording her first film song in 1943 for the Marathi film ‘Majha Bal’.

While her contribution to India’s music and cinema remains unparalleled, Bhosle also carved a deep and enduring connection with Nepali audiences. With her widely celebrated Nepali songs such as ‘Mohani Lagla Hai’, ‘Gairi Khetko Shirai Hanyo’, ‘Aaja Hamro Bhet Bhako Dina’, ‘Basanta Nai Basna Khojcha Yaha, ‘Yo Ho Mero Pran Bhanda Pyaro Maitighar’, and ‘Aage Aage Topaiko Gola’ Bhosle’s voice travelled generations and geographies, which marked her timeless, legendary and versatile presence in Nepal’s musical memory.

In Nepali films, including ‘Maitighar’ (1966), ‘Deuta’ (1991), ‘Jwala’ (1994), her voice became integral, amplifying the emotional depth of their narratives.

Indian playback music has long held cultural prominence in Nepal, with several artists, including Bhosle, drawing inspiration from it. Her collaborations with Narayan Gopal, Udit Narayan Jha, Sadhana Sargam, Danny and many other artists are embedded in the country’s shared cultural arc.

Singer Kunti Moktan recalls her early childhood memories of wanting to replicate Asha Bhosle’s voice. “When I was in Darjeeling, her songs would echo from the mic,” she told the Post. “Attempting to sing ‘Jhajhalko Liyera Aaye Cha Sawan’ is deeply carved in my core memories. Even in the present days, when asked to sing my favourite song, I hum its rhythms.”

Like many, she calls Bhosle the Saraswati of music. “Even though she is no longer with us, her legacy will remain as long as Nepali music exists,” says Moktan. “Losing an artist like her, whose versatility was simply unmatched, fills me with deepest sorrow.”