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In recent years, Bengali Bāul-Fakir music has become popular among affluent, educated Bengalis. Increased commercial demand, professional competition among performers, and the availability of inexpensive audio recordings have sparked a marked diversification of individual Bāul-Fakirs’ musical repertoires. I illustrate this diversity through detailed transcriptions and discuss other recent innovations, including the use of large performance ensembles, the use of “modern” instrumentation, and the blending of melodic elements from East Bengal with rhythmic elements from West Bengal. More broadly, I suggest that the commodification of a spiritual music can serve as a catalyst for musical innovation, and I provide ethnographic evidence suggesting that such innovations need not threaten the efficacy of the music in spiritual settings.
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