We have to keep in mind that unlike his prominent contemporaries, Nazrul's creations were not consistent. For his valiant stance and outspoken defiance against the British 'Raj', his songs and poems could not be circulated widely. Quite a few of his works were even banned. The Rebel Poet's creative flow was hindered socially and politically. Socially, since his secular ways infuriated both the fundamentalist Hindus and Muslims. His Shyama-sangeets were no less heartfelt than his Hamd and Naats but this unheard of talent was harshly castigated and shunned by many, when he should have been revered.

Nazrul was never financially solvent. The tragic fact is that Nazrul had to sell the rights to myriad songs for a meager remuneration. For lack of proper concern, some of his songs were lost. Thus in his lifetime, quite often some of his songs were altered or rendered using wrong notes.

Nazrul lost his speech and memory at the age of 42 due to a long neurological ailment. Hence, it became even harder to properly regulate his works.

Lastly, Nazrul was a true bohemian by nature. So, all these factors resulted in an inconsistent collection of works, some of which were distorted, making for uncertain quality.

The original records of Nazrul songs that the institutions follow, often contain inaccurate renditions of the songs. At times, the songs are also difficult to comprehend, as the intonation of the artistes from that era is somewhat unfamiliar. So, the students have a hard time learning Nazrul songs accurately. We have to research on Nazrul songs thoroughly and make efforts to resolve this issue.

It's not true that we don't have youngsters who show interest in Nazrul songs but they have to be encouraged as well. Quite often, we, the seniors don't treat our juniors condescendingly.

There is this trend of practicing Nazrul songs in contrasted fashions in different institutions. We have to put a stop to this phenomenon. We must make it a point to unify all the institutions to follow a proper method of practicing and rendering Nazrul songs.

Nazrul songs are colourful and to manifest this trait of his songs, an aspiring artiste has to learn different techniques and styles. To be able to do that, a student should be trained under not just one veteran teacher but a number of skilled gurus. Accomplished Nazrul song teachers are not evenly distributed among the several institutions either. We have to work on this.

Most importantly, we need adequate Government backup. There was a time when classical music was not popular in our neighbouring country. However the radio used to play classical music often, creating a strong base and aficionados of classical music there. Perhaps, we can apply some similar method to popularise Nazrul songs. Funds for the institutions have to be well monitored as well.

Shumon Chowdhury started his music lessons in 1972. His mentors in classical music were Sheikh Jamiruddin, Ustad Phool Mohammad, Ahsan Murshed, Narayan Chandra Basak, Mithun Dey. He started learning Nazrul songs from Sohrab Hossain, Anjali Roy and Sudhin Das. He aspires to have extensive lessons on classical music from the renowned classical music exponent Ustad Mashkur Ali Khan. He started his career as a trainer and music teacher from 1980. He plans to teach higher level courses on Nazrul songs and Khayal.