Priyanka Chopra may still be refraining from getting behind the mike (in spite of friends and industry people claiming that the day she wants, she can be a pop Diva) while Sherlyn Chopra may have already got into an 'Outrageous' act. However, Udita Goswami, who is considered to be quite a talent when it comes to singing and music, isn't ready for the bait yet. Though she is confident that the day isn't really far away before she cuts an album of her own, at the moment she is enjoying her stint in front of the camera.

''I love music and singing. I am sure that one day I would certainly come up with an album of my own. However, it won't happen in near future. Maybe 3-4 years down the line. I have quite a few ideas in mind but it would take time to put them all into execution. Till then I wish to enjoy my new innings on celluloid'', confesses Udita.

Taiwanese singer Wang Lee-hom has accused an Indian filmmaker of plagiarising his music and is seeking $320,000 in damages.

Lee-hom, 33, a US-born singer popular in Southeast Asia, is seeking damages from Tips Films, distributor of the Hindi film Race, which was released in March, Sony BMG Music Entertainment Ltd said in a statement.

"The lead song in Race - Zara Zara touch me, resembles Wang's song Deep in the bamboo grove (Chu Lin Shen Chu). Its rhythm and tempo are similar to that of Deep in the bamboo grove. The similarity is nearly 100 percent," added the statement.

Ten years ago, on May 25, Laxmikant, the senior half of Hindi cinema’s most prolific, variegated and enduring composing entity – Laxmikant-Pyarelal – passed away.

In this age of media-hype, lobbies and general lack of awareness, the film industry has all but forgotten that short, stocky, genial man who spun out five completely different tunes for one song in minutes, never lost either his cool or that easy paan-stained smile, and has yet (with Pyarelal) given more to Hindi films, stars, singers and music itself than any single composing entity. But as a lyricist perceptively pointed out, “More L-P songs will be sung centuries later as folk than anyone else’s, the way a Raghupati Raghav Rajaram is sung today.”

Singing Christian worship songs in the Hindi language for an American evangelical audience can't be an easy sell. Not only is there a formidable language barrier, but cultural and theological challenges abound—like working within the Indian classical-music tradition while conveying deep Christian truths. But that's the approach used by Aradhna, a group of American and English musicians who have spent significant portions of their lives in central Asia. (Lead singer Chris Hale, for example, was raised in Nepal, where his parents were missionaries, and later served as a missionary to India with OM International.)

Throughout the world, indigenous rural music is fading out. It's overwhelmed by a modern, urban sound that propagates worldwide through web downloads and MP3 players. But sometimes, music that fades in one part of the world, say, remote parts of India, shows up again surprisingly far away. From Hayward, California, Lonny Shavelson brings us the sound of Indian nautanki.

Picture a rural Indian landscape of plowed farmland. The sky grows dark. Thousands of farmers and their families relax on the ground. Others sit on nearby rooftops or in trees. At ten at night, the crowd pushes back to make a circular clearing. Gas lanterns are lit, a dozen or so opera singers, actors and dancers prepare to perform until dawn -- and you have a nautanki, a Hindi folk opera once wildly popular in northern India.  

New Delhi (PTI): Its not only Bengali beauties but the Bengali rock and fusion music too is catching the fancy of Hindustani Cinema music directors but some bands feel their compositions are being 'lifted', leaving them in limbo.

Rabindranath Tagore's compositions have always been popular in the tinsel town but now with the growing popularity of Bengali rock and fusion bands, this genre of music from the region also seems to finding favour from bollywood music directors.