Nazrul Islam further enriched modern Bangla songs with his unique talent for composing songs based on distinct diction and tunes. Tagore songs, which essentially blend classical and indigenous trends, greatly furthered the progress of modern Bangla songs.ДЄlthough influenced by Tagore, dwijendralal roy, rajanikanta sen and atulprasad sen showed distinctiveness in their respective styles. Rabindranath's ability to apply different musical traditions and devise ever-new trends created a transformation in Bangla music. This led to an era of five lyricists Rabindra, Dwijendra, Rajani, Atul and Nazrul who shaped the modern techniques of Bangla songs. The process of modernisation of Bangla songs reflected contemporary historical and social conditions. The songs of Rabindranath and Dwijendralal are perfect instances of this experiment. This set the trend for combining western tunes and instruments with local ones to provide music for Bangla songs. jyotirindranath tagore introduced an orchestra composed of mixed local and western tunes on 5 January 1867 at Jorasanko. Among those who contributed to the new forms of music were Shaurindramohan Thakur, kshetramohan goswami, and krishnadhan banerjee. The period between the mid-19th century and the mid-20th century saw waves of social and cultural changes in the urban life of Kolkata. This was a stream that began with Kamalakanta, Nidhubabu, Kali Mirza, dasharathi roy, Gopal Ure and Sridhar Kathak and attained fulfillment in Rabindranath, Dwijendralal, Rajanikanta, Atulprasad and Nazrul. Nidhu Gupta and later rabindranath tagore ignored such music and helped create modern Bangla songs which were refined and rich in themes, expressions and tunes.

The class of nouveau riche that developed in the city under the patronage of the English rulers helped induct into Kolkata music rural tunes, style and themes. They carried with them folk songs, kirtan, kavigan, jatragan, ramprasadi, panchali, khewur etc. In this sense modern Bangla songs originated in Kolkata.Дuring the colonial rule a large number of rural people moved to Kolkata in quest of livelihood. Foreign influence combined with local influence led to city-based music conferences and new types of music. This was the time when the British were building Kolkata. Nidhu Gupta composed Bangla tappa on the model of Hindustani classical tappa. Modern songs also demand a knowledge of musical instruments and deftness in using them.ДЄmong the early makers of modern songs in Bengal songs were Nidhu Gupta, Kalidas Chatterjee or kali mirza, Raghunath Roy and Sridhar Kathak.

Modern songs often draw ideas from the music of other countries, devise skills to apply tunes in a striking manner, avoid monotony in creating tunes, bring about variety in rhythm, etc. In Indian classical music the musical notes are more important than the verbal expressions. Modern Bangla songs differ from classical music in that both words and tunes are important. These were broadcast as modern songs for the first time by the dhaka radio station after partition.

Dwijendragiti, Rajanikanta's songs, Atulprasad's songs, nazrul songs and experimental songs of other modern lyricists and composers were known as lyric songs. The Bangla term was for the first time used by dilip kumar roy. Towards the end of British rule, the Kolkata station of All India Radio introduced kavyasabgit or lyric songs, which were essentially modern songs. nidhu gupta's tappa were mainly love songs. Modern Songs originated towards the end of the eighteenth century through the tappa.

Indian bangla song