In the early period (750–1350 AD), ancient Maithili words were included in the Buddhist Tantric dohas and songs. It is said that songs began to be composed in the Maithili language from that period. The medieval period (1350–1768 AD) is considered the golden age of Maithili folk music.

Maithili folk poet Vidyapati took Maithili folk songs to a higher level during this period. He brought Maithili folk songs to the people by saying 'Desi Bayana Sab Jag Mitha' (Everyone finds their own language sweet).

Due to Vidyapati's influence, the Malla kings of Nepal also wrote compositions in Maithili language. Maithili folk songs and music have been gaining popularity around Vidyapati's original compositions. 

Folk songs have become the identity of Maithili music. Maithili folk songs, which are connected to culture and daily life, contain love, separation, beauty and emotion. Maithili folk songs are special for festivals, traditions, rituals, sociality and seasons. Sohar, Vratbandha song, Sammari, Lagan song, Nachari, Samdowni, Jhumar, Tirhuti, Batgamani, Phagu, Chaitavar, Kalar, Chanchar, Yoga, Sanjha, Gwalari, Madhusravani, Chhath song, Shyama-Chakeva, Jat-Jatin and Barmasa are the main links of Maithili folk songs. 

Jai Jai Bhairavi Asurabhayani, Pashupati-Bhavini Maya.

Sahaj Sumati Var Diya Hey Gosauni, Anugati Gati Tua Paya..

 This song, composed by Vidyapati, is still played at the beginning of a program in Mithila. Sarada Sinha brought revolution by singing Chhath festival and wedding songs. Chhath Parva and marriage come to mind as his song resonates. 

Singers Udit Narayan Jha, Maithil Thakur, Kunj Bihari, Dhirendra Premarshi, Rupa Jha, Sunil Mallik, Abhas Labh, Rashmi Rani have made significant contributions in bringing Maithili folk songs to the masses. Gurudev Kamat added classical rhythm to Maithili songs. Kamat was the only seeker of classical songs in the Terai-Madhesh genre. His song ‘Vit-Vit Par Laxman Rekha, Deng-Deng Par Aig’, which introduced the harsh melody of classical music into Maithili songs, became the voice of the fight against discrimination in Terai-Madhesh.

Pandit Amarnath Jha has mentioned in his book ‘Maithili Folk Songs’ that songs have become the daily life of the people in Mithila. He has written in the book, ‘The revival of rural songs of Mithila has been given by devotion, celebrations and festivals. The main musical festivals in Mithila are Raksha Bandhan, Teej, Yama-Dvitiya and Chhath. The ancient folk songs sung while moving from one place to another with the caravan are the legacy of Mithila.’

Dhirendra Premarshi is considered a singer who speaks the voice of society through Maithili folk songs and music. 

‘Hamre Dala Panpathiya Sa Devto Pitar Pujai Chhay

Kahu Yau Babu Tayo Hamar Deh E Kiyaak Chhuai Chhay’ 

(Goddesses are worshipped with the utensils we make. Tell me, Baba, but why are our bodies considered untouchable.)

 This song, which strongly attacks the treatment of untouchables by other castes towards the Dom, Chamar and Musahar communities in Mithila, shocks anyone when Premarshi sings it. ‘The very way of life of Mithila is woven into the thread of songs and music,’ says Premarshi, ‘In Mithila, there is a tradition of expressing every culture and mood from birth to death through songs.’

According to him, Maithili folk songs and music, despite experiencing many excellent and inferior situations and ups and downs, continued to make love, victory, and happiness melodious. Songs were also used as a medium in Mithila to endure sorrow, pain, and separation. ‘There was a tradition of music in Mithila since Vedic times.

The role of the priestly class was to propagate music,’ says Premarshi, ‘Mithila entered the tradition of secular songs and music along with the tradition of Samgana through the singing of the verses of the Samaveda by the priests. The class deprived of access to Samgana initiated the secular tradition. By blending these two streams of music, the tradition of singing Gatha started in Mithila.’

 According to Premarshi, 50 types of Gatha including Salahes, Lorik, Naika-Banijara, Dinabhadri are still popular in Mithila. Rambharos Kapadi Bhramar, Vice Chancellor of Madhesh Pragya Pratishthan, also says that in the early days, Maithili song and music had a tradition of Raja, Sipahi Vedpuran Pandit. ‘Initially, the people were not given much importance in songs and music. The people started the tradition of Gati-Sange in their own way,’ he says.

 According to Kapadi, every folk song of Maithili is based on folk practices. ‘Many songs are based on folk heritage,’ he says, ‘They used to worship through songs by incorporating the words of their home, family and society.’

The beauty of Maithili folk songs is that they have compositions that reflect every moment. There are folk songs from birth to death. When a child is born, happiness is shared by singing Sohar. There are also songs for playing and playing. Love is expressed by humming love songs during youth. There is a Maithili folk song for every type of marriage.

Kajri is sung in the rainy season, Fagh in Falgun, and Chaitavar in Chait. Langani is sung during labor and Batgamani is sung while walking. For entertainment and pleasure, there are folk songs such as Tirhuti, Maan, Jhummar, Birha, etc. Nachari, Vani, Sanjh, Parati are popular aspects of Maithili folk songs.

‘Most people sing songs on jhal, mridang and kartal bazaar for the welfare of their family and society, to avoid diseases, and to wish and protect their wives and sons,’ it is written in the book Rautahi published in 2015, ‘Maithili folk songs not only provide entertainment, but also show their duty towards family, society and country.’

According to Kapadi, Vice-Chancellor of Madhesh Pragya Pratishthan, Maithili folk songs have been passed down in a wonderful way according to the social system. ‘Mostly, Maithili songs encompass the conditions and ease of folk life,’ he says, ‘Many folk songs are on the verge of extinction. It is necessary to preserve them.’

He says that except for being sung during Dashain-Tihar, Maithili folk songs are on the verge of extinction. ‘The songs of Fagu have almost disappeared,’ he says, ‘The songs heard now do not show originality, there is no sense of belonging. Maithili folk songs are a document of a way of life. You can't dance to incomplete songs. You have to have your own original songs.'

 Maithili musician Ranjan Jha says that it is necessary to combine Maithili modern, rap and hip-hop songs and music that are currently preferred by the market with folk songs and music. 'Maithili rap and hip-hop are gaining popularity,' he says, 'I have given music to most rap and hip-hop. However, when you create them by combining them with Maithili folk songs and folk instruments, the old songs remain and you also get something new.'

Musician Jha says that he did not understand the importance of Maithili folk songs since he was a child. 'When you perform Maithili folk songs, they criticize you for being a scoundrel,' he said, 'But, when you create new songs and music based on folk songs and folk instruments, originality is reflected.' 

Rap and hip-hop songs that have recently come to Maithili have taken the market by storm. Rap ​​and hip-hop songs by Mania, Santosh Odi and DK Sagar have become the favorites of the young generation. After the song ‘Sarar Ra Elaun Mithila Ke Shaan, Har Madhesi Ke Jaan, Baua Jitbe Tu Kena’ by Janakpur Bolts, the first edition winner of the Nepal Premier League (NPL), came out, rap and hip-hop songs sung in Maithili have started to be liked.

The hip-hop song ‘Rajako Raj, Panime Aag, Nari In Sari Et, Khel Khiladi Et’ associated with Mania’s Janakpur Bolts also became popular. The hip-hop song brought by DK Sagar a few months ago is also in the news –