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GNDU Question Paper-2023

BA 1

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Maximum Marks: 50

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section. All questions carry equal marks.

SECTION-A

1. What do you understand by Sahayak Naad?

2. Write the definition of Saptak and explain in detail.

SECTION-B

3. Write in brief about Raags composed by Miya Tansen,

4. What is the significance of Ghorian in Punjabi Weddings

SECTION-C

Write the detailed description of Raag Bilawal.

6. Write the Ekgun and Dugun of Taal Dadra

SECTION-D

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1. Write the life sketch of Guru Nanak Dev Ji

8. Explain Mohalla and Rababi in the context of Gurmat Sangeet

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GNDU Answer Paper-2023

BA 1

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Maximum Marks: 50

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section. All questions carry equal marks.

SECTION-A

1. What do you understand by Sahayak Naad?

Ans: Introduction

Let’s begin with a story.

Imagine a calm morning in a village where a young student is learning to play the sitar from

his guru. As he gently plucks the string, his guru says, “Did you hear that second sound?

That’s not the main note, but it’s helping the melody. That is the Sahayak Naad.”

The student is puzzled. “What do you mean by a sound that is not the main one, but still

helps?” The guru smiles and says, “Let me explain…”

What is Sahayak Naad?

The word ‘Sahayak Naad’ comes from two Sanskrit words:

• Sahayak – meaning “helper” or “supporter”

• Naad – meaning “sound” or “vibration”

So, Sahayak Naad literally means “supporting sound.”

In the world of Indian classical music, every musical sound (Naad) contributes to a raga or

composition. However, not all sounds are meant to be the main focus. Some sounds exist to

support, enrich, and enhance the main notes. These supportive, background sounds are

called Sahayak Naad.

Understanding Through Analogy

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Let’s take a classroom situation. Imagine a teacher giving a lecture (main speaker) and a few

students nodding in agreement or giving encouraging looks. These students aren’t speaking,

but they are helping the teacher stay motivated and focused. Similarly, in music, the main

note or tone is the central sound, but Sahayak Naad gives it context, emotional depth, and

beauty.

Types of Naad

To fully understand Sahayak Naad, we need to know the two major types of Naad:

1. Ahata Naad (Struck Sound):

o This is the sound we hear when something is physically struck or played.

o Example: The sound of a tabla, the pluck of a sitar string, or the beat of a

mridangam.

2. Anahata Naad (Unstruck Sound):

o This is a more spiritual or internal sound, believed to be heard in deep

meditation.

o It is not created by any external striking action.

o Yogis and sages often describe hearing it during deep inner silence.

Now, within Ahata Naad, we can classify sounds further — some are main sounds (like the

melody in a song), and others are supporting or helping sounds — which we call Sahayak

Naad.

Role of Sahayak Naad in Music

In Indian classical music, whether it's Hindustani or Carnatic, Sahayak Naad plays a vital

role. Let’s see how:

1. Creating Atmosphere:

o Sahayak Naad helps in creating a background ambiance.

o The drone of a tanpura, which supports the main raga, is a perfect example.

The tanpura doesn’t play the melody but continuously provides a harmonic

base.

2. Enhancing Emotions:

o Music is not just sound; it is rasa (emotion or essence).

o Sahayak Naad adds emotional flavor to the main notes by giving depth and

texture.

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3. Guiding the Listener:

o It helps listeners stay anchored to the tonal base (Sa-Pa or Sa-Ma in tanpura).

o Without it, music may sound flat or disjointed.

4. Helping the Performer:

o For singers and instrumentalists, Sahayak Naad acts as a guide or reference

point.

o It ensures they stay in pitch and maintain the structure of the raga.

Examples in Indian Classical Music

Let’s look at a few real-life examples to understand better:

• Tanpura (Tambura): It is never the main instrument, but it is always present in the

background. Its constant drone supports the vocalist or main instrument. This drone

is Sahayak Naad.

• Jhala in Sitar Playing: When fast-paced strumming is done, the main melody

continues, but the background strings that create rhythmic texture are producing

Sahayak Naad.

• Tabla’s Side Strokes: Not every stroke is meant to be heard clearly. Some strokes

add volume and rhythm quietly. These strokes are Sahayak Naad in rhythm.

Sahayak Naad vs. Mukhya Naad

Let us clearly distinguish the two:

Mukhya Naad (Main Sound)

Sahayak Naad (Supporting Sound)

Forms the central melody

Provides background or support

Is heard clearly and directly

May be soft or subtle

Demands attention

Complements without standing out

Played intentionally

Sometimes naturally created

Why Should University Students Learn About It?

You might wonder, “Why should I care about this?” Well, understanding Sahayak Naad is

not just about music — it's also about life.

• In life, not everyone is in the spotlight, but every role matters.

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• Just like the supporting characters in a film, Sahayak Naad reminds us that behind

every lead, there’s a team that supports the performance.

• Whether you are studying music, culture, or even philosophy, this concept teaches

us about harmony, balance, and cooperation.

Conclusion

Sahayak Naad is like the silent helper in the world of sound. You may not always notice it,

but it is always there — working quietly to make the music whole and beautiful. It teaches

us that not all contributions need to be loud to be meaningful.

So the next time you hear a musical piece or even observe life around you, try to notice the

Sahayak Naad — the quiet helpers who make everything smoother, richer, and more

balanced.

Understanding Sahayak Naad not only deepens your knowledge of music but also helps you

appreciate the importance of supportive elements in every field — from art to relationships,

from sound to society.

2. Write the definition of Saptak and explain in detail.

Ans: 󷇴󷇵󷇶󷇷󷇸󷇹 Introduction to Saptak: A Journey Through Musical Notes

Imagine you’re walking into a beautiful Indian classical concert. As soon as the music begins,

you’re drawn into a world of melody, emotion, and rhythm. Behind this magic lies a very

simple yet profound concept — Saptak.

In the Indian classical music system, Saptak plays the same role as the alphabet in a

language. Just as we form words from letters, musicians create ragas and melodies from the

swaras (musical notes) in a Saptak.

󷘖 What is Saptak?

The word ‘Saptak’ comes from the Sanskrit root ‘sapta’, meaning seven. It refers to the

group of seven basic musical notes in a scale, which are the foundation of all melodies in

Indian music.

These seven notes are:

1. Sa ( - Shadja)

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2. Re ( - Rishabh)

3. Ga ( - Gandhar)

4. Ma ( - Madhyam)

5. Pa ( - Pancham)

6. Dha ( - Dhaivat)

7. Ni ( - Nishad)

When these seven notes are arranged in order — Sa, Re, Ga, Ma, Pa, Dha, Ni — they form a

Saptak.

󹴷󹴺󹴸󹴹󹴻󹴼󹴽󹴾󹴿󹵀󹵁󹵂 Understanding the Concept Like a Story

Let’s imagine these seven notes as seven friends on a journey. Each of them has a unique

personality:

• Sa is the leader — stable, strong, and always starts the journey.

• Re is curious, always asking questions.

• Ga is creative and full of emotion.

• Ma is calm and balanced.

• Pa is powerful and straightforward.

• Dha is intense and dramatic.

• Ni is spiritual and dreamy, looking for completeness.

And then, the journey begins again with Sa — but now on a higher level, a higher pitch. This

cycle repeats, forming an ascending and descending pattern of melody.

󷘺󷘻󷘼 Types of Swaras: Shuddha and Vikrit

Before diving deeper into the types of Saptaks, it’s important to know that not all swaras are

fixed in pitch. In Indian classical music, swaras are divided into two types:

• Shuddha Swaras (Natural Notes): Sa, Re, Ga, Ma, Pa, Dha, Ni in their basic or natural

form.

• Vikrit Swaras (Altered Notes): Some swaras can be altered slightly, either made

komal (soft or flat) or teevra (sharp).

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Here’s how:

• Komal (Flat) Swaras: Re, Ga, Dha, and Ni can be sung in a lower pitch.

• Teevra (Sharp) Swara: Ma can be sung in a higher pitch.

• Sa and Pa are always fixed (Achal Swaras) and are never changed.

󼳊󼳋󼳌󼳒󼳍󼳓󼳎󼳏󼳔󼳐󼳑 Three Types of Saptak

Now that we understand what the Saptak is, let’s explore its three main types, based on the

pitch or octave:

1. Mandra Saptak (Low Octave)

• This is the lowest range of sound.

• The notes are sung or played in a deep and heavy tone.

• Think of the sound of a temple bell or a slow-moving river — that’s Mandra Saptak.

• Used for creating a serious or meditative mood.

2. Madhya Saptak (Middle Octave)

• This is the most commonly used octave in singing.

• Notes are in a balanced and comfortable pitch — not too low, not too high.

• Most practice and performance begin here.

• It’s like talking in your natural voice.

3. Taar Saptak (High Octave)

• This octave has high-pitched notes.

• The sound is sharp, light, and piercing, like a bird’s call.

• It is often used to create excitement, climax, or brightness in a performance.

• Only trained voices can handle this pitch effectively.

Each of these Saptaks contains the same seven notes — Sa, Re, Ga, Ma, Pa, Dha, Ni — but

the pitch level changes.

󷘗󷘘󷘙 Representation of Saptak in Notation

In music notation:

• Mandra Saptak notes are written with a dot below the letter (e.g., 𝆩Sa).

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• Madhya Saptak notes are written as they are (e.g., Sa).

• Taar Saptak notes are written with a dot above the letter (e.g., S).

This system helps musicians easily identify the pitch level while reading or writing music.

󹰤󹰥󹰦󹰧󹰨 Why is Saptak Important?

Understanding Saptak is like understanding grammar before writing poetry. It’s essential

for:

• Learning ragas and their structure

• Understanding pitch and voice control

• Building the foundation for improvisation and creativity

• Composing and performing Indian classical or even semi-classical and devotional

music

Without mastering Saptak, a student cannot progress in the field of Indian music.

󼖻󼖼󼖽󼖾󼖿󼗀󼗁󼗍󼗎󼗂󼗃󼗄󼗅󼗆󼗇󼗈󼗉󼗊󼗋󼗌 Connection of Saptak with Human Emotions and Nature

In Indian thought, music is not just entertainment; it is a spiritual path. Each swara and

Saptak is believed to affect human emotions, mental states, and even the natural world.

Ancient texts speak of ragas based on Saptaks that can bring rain, cure diseases, or inspire

deep meditation.

For example:

• Mandra Saptak relates to the earth element and stability.

• Madhya Saptak corresponds to balance and everyday life.

• Taar Saptak connects to air or ether, often uplifting and divine.

󹲹󹲺󹲻󹲼󹵉󹵊󹵋󹵌󹵍 Conclusion

To summarize, the Saptak is the soul of Indian classical music. It is a set of seven musical

notes that form the base for every composition, every raga, and every melody.

Understanding Saptak helps a student not just technically, but emotionally and spiritually, to

connect with the art of music.

It’s like learning the colors before painting — once you know your Saptak, the canvas of

music is yours to explore.

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So, whether you’re learning music as a hobby or as a serious academic subject, master the

Saptak, and you will unlock the magical world of Indian classical music.

SECTION-B

3. Write in brief about Raags composed by Miya Tansen,

Ans: Raags Composed by Mian Tansen: A Melodious Gift to Indian Classical Music

Imagine a time more than 400 years ago, in the grand court of Emperor Akbar, one of the

greatest rulers of the Mughal Empire. The atmosphere is filled with the rich sounds of the

tanpura, tabla, and sitar. In the center of the court sits a man who, with his voice alone, can

light lamps, bring rain, or make deer cry. That man is Mian Tansen, one of the most

legendary musicians in Indian history.

Tansen was not just a singer—he was a master composer, performer, and creator of some

of the most powerful and beautiful Raags (musical melodies) in Hindustani classical music.

His contribution was so immense that even centuries later, students of classical music still

learn and perform the Raags he composed.

Let’s now take a musical journey through the Raags that Tansen is believed to have created.

We’ll explore what each Raag means, how it feels, and why it is so special.

󷅶󷅱󷅺󷅷󷅸󷅹 1. Raag Miyan ki Todi

This Raag is said to be one of Tansen’s most emotional creations. The word "Todi" refers to

a group of Raags that are played in the morning. Miyan ki Todi has a deeply serious and

devotional mood. It is usually performed during the late morning hours, and it has a slightly

melancholic tone, evoking feelings of prayer, surrender, and respect.

• Mood (Rasa): Devotional, emotional

• Time of performance: Late morning

• Special features: The notes used in this Raag are carefully chosen to create a deep

and serious mood. It uses komal (flat) Re, Ga, and Dha, and a sharp Ma.

Tansen probably composed this Raag for a meditative experience, helping the listener

connect with the divine through music.

󷈓󷈔󷈑󷈕󷈒 2. Raag Miyan ki Malhar

Now imagine dark clouds in the sky, cool winds blowing, and the first raindrops falling on

the dry earth. That’s the feeling of Raag Miyan ki Malhar. Tansen was believed to have such

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mastery over music that singing this Raag could cause rain to fall. That’s why it is known as a

Monsoon Raag.

• Mood (Rasa): Romantic, joyful, welcoming rain

• Time of performance: Anytime during the monsoon season

• Special features: It is a blend of traditional Malhar elements and Tansen’s own

creativity. It includes certain patterns and note progressions that create the

impression of thunder and rain.

This Raag is full of life and energy, and it shows how deeply Tansen could connect music to

nature.

󷇧󷇨󷇩 3. Raag Darbari Kanada

“Darbari” means royal court, and “Kanada” is the name of a group of Raags. Tansen is

believed to have modified an earlier Kanada Raag to make it more suitable for royal

courts—thus creating Raag Darbari Kanada.

This Raag is heavy, majestic, and full of power and dignity, just like a king sitting on his

throne. It became one of the most popular Raags in royal settings and is still used in Indian

cinema to depict seriousness or royalty.

• Mood (Rasa): Grave, majestic, powerful

• Time of performance: Late night

• Special features: The use of deep, stretched notes, especially in the lower octave,

makes this Raag rich and intense.

Tansen composed it perhaps to impress Emperor Akbar, and he succeeded beyond

imagination. It remains one of the most respected Raags even today.

󹸕󹸖󹸗󹸘󹸙󹸚󹸛󹸜󹸝 4. Raag Miyan ki Sarang

Raag Sarang is usually played during the midday and is associated with the sun and

brightness. Tansen created his version of this Raag, called Miyan ki Sarang, which added

depth and spiritual flavor to the original Sarang.

• Mood (Rasa): Bright, devotional, peaceful

• Time of performance: Noon

• Special features: This Raag keeps the freshness of the Sarang group but adds

emotional richness, typical of Tansen’s style.

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󷅰󷅱󷅵󷅲󷅳󷅴 5. Raag Multani

Though it existed before, Tansen’s school of music helped popularize Raag Multani. It is

sung during late afternoon, the time when the sun is setting and shadows grow longer.

Multani captures this transition beautifully. It brings out a feeling of peace mixed with

longing.

• Mood (Rasa): Thoughtful, emotional, calm

• Time of performance: Late afternoon

• Special features: The use of flat notes like Re, Ga, and Dha, combined with sharp

Ma, creates a feeling of inward reflection.

󷘺󷘻󷘼 Why Are Tansen’s Raags So Important?

Tansen’s Raags are not just musical compositions—they are emotional experiences. Each

Raag has a specific time, mood, and purpose. He believed that music is more than

entertainment; it is a way to connect the human soul with the divine and with nature.

Tansen’s Raags also helped standardize Hindustani classical music. His compositions were so

perfect that many musicians started teaching them to their students, creating a long and

unbroken tradition.

󹴷󹴺󹴸󹴹󹴻󹴼󹴽󹴾󹴿󹵀󹵁󹵂 Tansen’s Legacy in Music Education

Tansen became one of the “Navratnas” (Nine Jewels) in Akbar’s court. He belonged to the

Gwalior Gharana, but after joining Akbar’s court, he became the father figure of the Delhi

and Agra Gharanas as well. His style, known as Dhrupad, was powerful, slow-paced, and

meditative.

His Raags are now a core part of music syllabi across universities in India. Even today,

students learn these Raags as part of their practical and theoretical training.

󷖤󷖢󷖣 Conclusion

Mian Tansen was more than a musician—he was a visionary, a creator, and a saintly figure

whose voice had divine power. The Raags he composed were not only musical masterpieces

but also emotional journeys. From the peaceful glow of Miyan ki Todi to the thunderous joy

of Miyan ki Malhar, his music continues to live in the hearts of performers and listeners

alike.

By learning his Raags, we don’t just learn music—we learn to feel, to imagine, and to

connect deeply with our own emotions and the world around us. That is the true magic of

Mian Tansen’s compositions.

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4. What is the significance of Ghorian in Punjabi Weddings

ANS: What is Ghorian?

Imagine a village or a city home filled with excitement. The bride is getting ready in her

bridal attire, and on the other side, the groom is preparing to leave with his baraat, dressed

like a prince. Before the groom mounts his horse or car (symbolizing a royal ride), the

women of the household gather together to sing Ghorian – a set of traditional, melodious

songs. The word “Ghori” means mare (female horse), which the groom traditionally rides,

and “Ghorian” are songs that celebrate this joyful moment.

These songs are usually sung in a group, without instruments, though sometimes dholki

(drum) or claps are used. The lyrics are humorous, emotional, or full of blessings for the

couple.

When are Ghorian Sung?

1. Before the groom departs for the wedding (baraat):

The most popular time to sing Ghorian is when the groom is getting ready and about

to leave for the bride’s house. Women of the family circle him and sing while

playfully teasing or blessing him.

2. During pre-wedding rituals:

Ghorian may also be sung during mehndi, maiyan, or vatna ceremonies, where the

bride and groom are blessed and prepared for marriage.

What is the Meaning Behind Ghorian?

The purpose of Ghorian is not just entertainment. They serve many beautiful roles:

• Blessings: The songs offer good wishes and positive hopes for the couple’s future.

• Celebration: They express the happiness of the family for the upcoming wedding.

• Emotion and Humor: Some songs are emotional, highlighting the parents' feelings of

letting go of their child. Others are funny and teasing – adding joy to the

environment.

• Cultural Connection: Ghorian keep alive the centuries-old tradition of oral

storytelling and music in Punjabi culture.

Why is Ghorian Important?

• Preserving Tradition: In today’s fast world of DJs and speakers, Ghorian help keep

our folk traditions alive.

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• Strengthening Bonds: Women from all age groups sing together, laugh, and connect

emotionally, strengthening family ties.

• Creating Memories: These songs are remembered for life – both by the bride and

groom and by those who participate in the wedding.

Example of a Simple Ghori (translated meaning):

"Oh dear groom, ride your decorated mare,

Go bring the bride from her beautiful home,

May your love remain like Heer and Ranjha,

Forever happy, hand in hand you roam."

This kind of song reflects blessing, joy, and cultural pride.

Conclusion

In a Punjabi wedding, Ghorian are more than just songs. They are emotions, blessings,

traditions, and joy packed into simple tunes sung by loving family members. For university

students studying Punjabi culture or attending such weddings, understanding Ghorian is like

understanding the emotional heart of the celebration. It is a moment where tradition meets

love – through music and memory.

So next time you attend a Punjabi wedding, don’t just listen – try joining in! Let the Ghorian

connect you to the roots of Punjab’s rich heritage.

SECTION-C

5. Write the detailed description of Raag Bilawal.

Ans: Raag Bilawal: A Journey Through the Soul of Indian Classical Music

Imagine waking up to a fresh morning. The sky is clear, the air is cool, and everything feels

new and positive. This is the exact feeling that Raag Bilawal creates. It is like the first light of

day that brings with it peace, hope, and purity. In Indian classical music, Raag Bilawal is

considered one of the most basic yet powerful ragas, and it forms the foundation of many

other ragas.

Let’s understand this raga in depth—like a journey.

1. Meaning and Importance of Raag Bilawal

Raag Bilawal is one of the most ancient and fundamental ragas in Hindustani classical music.

It is named after the Bilawal Thaat, which is also the parent scale or "family" from which

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other ragas are derived. In fact, Raag Bilawal itself represents the Bilawal Thaat, meaning its

notes and structure are exactly the same as the thaat.

This raga is known for its simple, sweet, and devotional mood. It is often associated with joy,

celebration, and auspiciousness. In many classical concerts, especially those held in the

morning, Raag Bilawal is chosen to begin the event because of its pure and peaceful nature.

2. Thaat and Scale (Jati)

• Thaat: Bilawal

• Jati (number of notes): Sampurna-Sampurna (meaning it uses all 7 notes in both

ascent and descent)

Raag Bilawal uses all the Shuddha Swaras (natural notes). There are no Komal (flat) or Tivra

(sharp) notes, which makes it sound pure and balanced.

3. Aroh and Avroh (Ascent and Descent)

• Aroh (Ascending): Sa Re Ga Ma Pa Dha Ni Sa

• Avroh (Descending): Sa Ni Dha Pa Ma Ga Re Sa

As you can see, both the ascent and descent follow a straightforward and complete order,

which makes this raga very easy to learn and sing, especially for beginners.

4. Vadi and Samvadi (Most important notes)

• Vadi (Most prominent note): Dha

• Samvadi (Second most prominent note): Ga

These two notes—Dha and Ga—are the emotional pillars of Raag Bilawal. When they are

stressed or elaborated during singing, they bring out the beauty and character of the raga.

5. Time of Performance

Raag Bilawal is a morning raga and is usually performed between 7 AM to 10 AM. Its calm

and refreshing nature makes it ideal for starting the day on a positive note. The raga creates

a serene and soothing atmosphere, much like a morning prayer.

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6. Mood or Rasa

The rasa (emotional essence) of Raag Bilawal is Shanta Rasa, which represents peace, joy,

and devotion. It brings the listener to a state of mental calmness, making it suitable for

spiritual or meditative compositions.

In religious and devotional contexts, it is often used in bhajans and kirtans to invoke divine

feelings and gratitude.

7. Structure and Features

Raag Bilawal may look simple, but it allows a wide range of expression. Here are some key

features:

• It follows a linear progression, so it’s easy to learn.

• It allows both slow (vilambit) and fast (drut) compositions.

• It has a universal appeal, so both beginners and advanced musicians love performing

it.

• It has been used in film music, devotional songs, and folk traditions, due to its

simplicity and emotional strength.

8. Types of Compositions

In classical music, Raag Bilawal is used in:

• Khyal (both vilambit and drut)

• Dhrupad

• Bhajans and devotional songs

• Chhota Khyal for beginners

Many film songs in old Bollywood movies are also based on Raag Bilawal or its variants.

9. Comparison with Western Music

Interestingly, Raag Bilawal is similar to the Western major scale (like C Major). The notes Sa

Re Ga Ma Pa Dha Ni Sa match exactly with the C-D-E-F-G-A-B-C scale in Western music. This

is why it often sounds very familiar and pleasant even to those who are new to Indian

classical music.

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10. Variations and Related Ragas

Raag Bilawal is the parent raga for many others, such as:

• Yaman Bilawal

• Alhaiya Bilawal

• Shankara Bilawal

Each of these ragas adds a twist to the basic Bilawal structure—by changing one or two

notes or the way they are used—but the essence of joy and devotion remains.

Conclusion

Raag Bilawal is not just a musical composition—it is a symbol of purity, simplicity, and

emotional balance. Like the first rays of the sun, it gently opens the mind and soul to a new

beginning. Whether you're a student of music or just a lover of melodies, Raag Bilawal

welcomes you with open arms and teaches you the beauty of simplicity in music.

It is the perfect raga to start your musical journey because it helps you build a strong

foundation, and at the same time, offers the freedom to explore the emotional depth that

Indian classical music is known for.

So next time you feel the need for peace and clarity, just listen to a Raag Bilawal

performance—and feel the calmness flow through you like a fresh morning breeze.

6. Write the Ekgun and Dugun of Taal Dadra

Ans: Introduction to Taal and Laya (Rhythm and Tempo)

Before we dive into understanding Ekgun and Dugun of Taal Dadra, let’s understand the

basic idea behind these concepts.

In Indian classical music, ‘Taal’ means rhythm. It’s like the heartbeat of music—it keeps

everything together. Just like how a clock ticks at regular intervals, Taal gives a structure to

music using matras (beats).

Now, Laya means tempo or speed. It’s how fast or slow you sing or play something. And

within Laya, we have different gunas (speed multiplications):

• Ekgun (1x speed) – the original speed

• Dugun (2x speed) – double the speed

• Tigun (3x speed) – triple the speed

• Chaugun (4x speed) – four times the speed

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These are like driving a car: if Ekgun is 40 km/h, then Dugun is 80 km/h, and so on. These

variations help in exploring rhythm creatively.

Understanding Taal Dadra

Let’s now understand Taal Dadra, a very popular Taal especially in light classical forms like

Thumri, Bhajan, Ghazal, and Folk music.

• Taal Name: Dadra

• Number of beats (Matras): 6

• Divisions (Vibhag): 2 equal parts of 3 beats each

• Theka (basic pattern):

Dha Dhi Na | Dha Tu Na

This Taal is light and graceful, just like a slow, soothing poem. It is usually performed in

Madhya (medium) or Vilambit (slow) Laya.

What is Ekgun in Taal Dadra?

Imagine you are walking. Every step you take is equal and steady. That’s Ekgun—the basic

form of rhythm where you play or sing one note per beat.

In Dadra Taal, there are 6 beats, so in Ekgun, you perform 6 syllables or bols in the cycle. The

Theka of Dadra in Ekgun looks like this:

Dha (1) | Dhi (2) | Na (3) | Dha (4) | Tu (5) | Na (6)

This is how a tabla player plays it in its natural form—one stroke per beat.

Example:

Imagine clapping your hands 6 times slowly: Clap, clap, clap, clap, clap, clap – this is Ekgun.

Ekgun is very useful for beginners because it helps you understand the structure of the taal

clearly without any rush. It’s like learning to walk before you run.

What is Dugun in Taal Dadra?

Now imagine you’re walking faster—you take two steps instead of one in the same amount

of time. That’s Dugun, which means double speed.

In Dugun, you play two syllables per beat, so in 6 beats, you perform 12 syllables.

So, Dadra Taal in Dugun will be played like:

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(These are just example syllables; they may vary)

You are now fitting twice the number of notes in the same Taal cycle, so it sounds faster and

more energetic. A tabla player has to be more skillful and controlled while playing Dugun,

because even though it’s faster, it must remain precise.

Example:

Imagine clapping 6 times, but this time, saying ta-ka with each clap:

Ta-ka, Ta-ka, Ta-ka, Ta-ka, Ta-ka, Ta-ka – this is Dugun.

It still fits within the same 6 beats, but you are expressing more within the same time.

Why Ekgun and Dugun are Important in Music?

These speed variations help musicians express emotions better. For example:

• Ekgun gives a calm, peaceful feeling—perfect for romantic or devotional songs.

• Dugun gives an exciting, dynamic feel—used to add energy or showcase rhythmic

skills.

When a singer or instrumentalist performs, they often start with Ekgun and then move to

Dugun, Tigun, or Chaugun as the performance develops. It makes the music more

interesting and engaging.

A tabla player also uses these layakari (tempo variations) to show their mastery.

Conclusion:

Understanding Ekgun and Dugun of Taal Dadra is like understanding how to express rhythm

using time and speed. It’s not just about playing fast or slow—it’s about feeling the rhythm,

staying in the beat, and creating beauty through tempo.

Let’s recap in simple words:

Concept

Meaning

In Dadra Taal

Ekgun

1 note per beat

6 notes in 6 beats

Dugun

2 notes per beat

12 notes in 6 beats

For university students learning classical music, this knowledge is a foundation. It helps you

understand how rhythm works and prepares you for more advanced compositions. Practice

both Ekgun and Dugun on claps or tabla, and you will feel the music breathing with you.

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SECTION-D

1. Write the life sketch of Guru Nanak Dev Ji

Ans: Life Sketch of Guru Nanak Dev Ji

Early Life and Childhood (1469-1485)

Guru Nanak Dev Ji, the founder of Sikhism and the first of the ten Sikh Gurus, was born on

April 15, 1469, in Rai Bhoi Ki Talwandi (now known as Nankana Sahib, Pakistan). He was

born to Mehta Kalu Ji, a village accountant, and Mata Tripta Ji. His sister, Bebe Nanaki, was

five years older than him and played a significant role in his life.

From his earliest days, young Nanak showed signs of extraordinary wisdom and spiritual

inclination. Even as a child, he would often engage in deep discussions about God and

spirituality that surprised both his family and teachers. Several stories from his childhood

illustrate his unique spiritual nature:

The Sacred Thread Incident

When Nanak was nine years old, as per Hindu tradition, he was supposed to wear the sacred

thread (janeu). During the ceremony, he refused to wear it and instead asked for a thread

that wouldn't break, wouldn't get soiled, and wouldn't burn. He said:

"Let mercy be the cotton, contentment the thread, Continence the knot and truth the twist.

O priest! If you have such a thread, Do give it to me."

This incident showed his early rejection of empty rituals and his emphasis on inner

spirituality over outer shows of religion.

Education and Early Signs of Wisdom

Young Nanak quickly learned Hindi, Sanskrit, Persian, and Arabic. His teacher, Pundit Brij

Nath, was amazed at his intelligence and spiritual understanding. There's a famous story

where Nanak wrote a poem elaborating on the deeper meaning of the first letter of the

alphabet, showing how even basic learning could reveal profound spiritual truths.

Youth and Family Life (1485-1496)

As Nanak grew into his teenage years, his parents became concerned about his lack of

interest in worldly affairs. He would often distribute his father's money to holy men and the

poor, leading to friction within the family. His father tried to involve him in various business

ventures, but Nanak's heart was set on spiritual matters.

Marriage and Family

At the age of 18 (around 1487), Guru Nanak married Mata Sulakhni Ji. They had two sons:

• Sri Chand (born in 1494)

• Lakhmi Das (born in 1496)

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Despite having a family, Guru Nanak maintained his spiritual focus while fulfilling his worldly

responsibilities. He took up a job as the storekeeper at the granary of Daulat Khan Lodi in

Sultanpur Lodhi, where his sister Bebe Nanaki and her husband lived.

The Divine Enlightenment (1496)

The most transformative event in Guru Nanak's life occurred when he was around 27 years

old. One morning, he went to bathe in the Vein River near Sultanpur Lodhi. He disappeared

for three days, and when he emerged, he was a changed man. This period is known as his

enlightenment, after which he declared:

"There is no Hindu, there is no Muslim, so whose path shall I follow? I shall follow God's

path."

This statement became fundamental to his teaching of the unity of all religions and the

equality of all people before God.

Major Journeys and Teaching Years (1500-1539)

After his enlightenment, Guru Nanak embarked on four major spiritual journeys (Udasis) to

spread his message. These journeys covered thousands of miles and lasted approximately

20 years.

First Journey (1500-1506)

• Direction: Eastern India

• Places visited: Bengal, Assam, Dhaka

• Key events:

o Meeting with Siddhas in Gorakhmata

o Visit to Jagannath Puri

o Discussions with religious scholars

Second Journey (1506-1513)

• Direction: Southern India

• Places visited: Tamil Nadu, Kerala, Sri Lanka

• Notable incidents:

o Meeting with Sheikh Ibrahim at Pakpattan

o Discourse at Rameshwaram

o Visit to Ceylon (Sri Lanka)

Third Journey (1514-1518)

• Direction: Northern India

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• Places visited: Kashmir, Tibet, Nepal

• Significant events:

o Discussions with Siddhas in the Himalayas

o Teaching sessions in Kashmir

o Spiritual dialogues with Tibetan lamas

Fourth Journey (1519-1521)

• Direction: Western India and Middle East

• Places visited: Mecca, Baghdad, Afghanistan

• Important occurrences:

o Famous incident at Mecca where he slept with his feet pointing away from

the Kaaba

o Discussions with Islamic scholars in Baghdad

o Spread of message in Afghanistan

Core Teachings and Philosophy

Guru Nanak's teachings were revolutionary for his time and remain relevant today. Here are

the main principles he established:

1. One Universal God

• Belief in one formless, eternal, and all-pervasive Creator

• Rejection of idol worship and empty rituals

• Emphasis on direct connection with the Divine

2. Equality of All Humans

• Rejection of caste system

• Equal status for women

• No discrimination based on religion, caste, or gender

3. Three Golden Rules

• Naam Japna (Meditation on God's name)

• Kirat Karni (Honest living)

• Vand Chakna (Sharing with others)

4. Social Reform

• Opposition to social injustice

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• Emphasis on community service

• Promotion of education and learning

5. Practical Spirituality

• Balance between spiritual and worldly duties

• Importance of family life

• Rejection of asceticism

Establishment of Important Practices

Langar (Community Kitchen)

Guru Nanak established the tradition of Langar, where free meals are served to all,

regardless of their background. This practice embodied his teachings of equality and

sharing.

Kirtan (Devotional Music)

He introduced the singing of hymns set to music as a way of spiritual expression. Along with

his companion Bhai Mardana, he composed numerous hymns that are now part of the Guru

Granth Sahib.

Morning Prayer

He established the practice of early morning meditation and prayer, emphasizing the

importance of starting the day with spiritual consciousness.

Notable Incidents and Teachings

The Trader and the Needles

Once, a wealthy trader offered to sell needles to Guru Nanak to take to the next world. Guru

Nanak agreed to take them but said he would give them back in the next world. This

confused the trader, who realized he couldn't take material possessions with him after

death.

The Rich Man and the Poor Man

Guru Nanak once chose to stay with a poor but honest man named Lalo instead of accepting

an invitation from a wealthy but dishonest man named Malik Bhago. This taught the lesson

that honest living is more important than wealth.

The Miracle of Sajjan Thug

Guru Nanak transformed a thug named Sajjan, who used to rob and kill travelers, into a

devoted follower by showing him the error of his ways through a powerful hymn.

Final Years and Succession (1539)

Settlement at Kartarpur

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In his final years, Guru Nanak settled in Kartarpur (now in Pakistan), where he established a

model community based on his teachings. Here, he demonstrated how to live a life of

spiritual devotion while fulfilling worldly responsibilities.

Daily Routine at Kartarpur

• Early morning meditation and prayers

• Working in the fields

• Evening prayers and kirtan

• Community meals in the langar

• Spiritual discussions with visitors

Appointment of Successor

Before his death, Guru Nanak appointed Bhai Lehna (later known as Guru Angad Dev) as his

successor, choosing spiritual merit over family ties. This established the tradition of

selecting the most worthy successor rather than following hereditary succession.

Final Message

In his last days, Guru Nanak emphasized that his physical death should not be mourned, as

his teachings would live on through his successor and the community he had established.

Legacy and Impact

Religious Impact

• Founded Sikhism, now the world's fifth-largest religion

• Established a new path that combined the best elements of existing religions

• Created a unique religious identity based on practical spirituality

Social Impact

• Challenged social inequalities and caste discrimination

• Promoted women's rights and equality

• Established institutions like langar that continue to serve millions

Literary Contributions

• Composed 974 hymns included in the Guru Granth Sahib

• Created a new script called Gurmukhi

• Introduced a new style of spiritual poetry

Lasting Influence

• His teachings continue to inspire millions worldwide

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• Institutions he established still serve humanity

• His message of universal brotherhood remains relevant

Conclusion

Guru Nanak Dev Ji's life was a perfect blend of spiritual enlightenment and practical

wisdom. He taught by example, showing how to live a life of truth, compassion, and service

while maintaining family and social responsibilities. His teachings transcended religious

boundaries and emphasized the universal values of honesty, equality, and love for

humanity.

His message was simple yet profound: recognize the divine light in all, serve humanity, and

live truthfully. Through his life and teachings, he established a path that continues to guide

millions of people worldwide, promoting interfaith understanding, social equality, and

spiritual growth while remaining engaged in worldly duties.

The institutions he established, particularly the langar and the practice of community

service, demonstrate the practical application of his spiritual teachings. His legacy continues

through the Sikh faith and its adherents, who strive to follow his path of truthful living and

selfless service.

8. Explain Mohalla and Rababi in the context of Gurmat Sangeet

Ans: Understanding Mohalla and Rababi in Gurmat Sangeet

Introduction

Gurmat Sangeet is the traditional musical style developed in accordance with the principles

and philosophy of Sikhism. It is deeply rooted in the musical traditions of Punjab and the

Indian subcontinent, specifically designed to sing Gurbani (the sacred verses of the Sikh

Gurus and other saints included in the Guru Granth Sahib).

Mohalla: Understanding the Term

Basic Definition

"Mohalla" literally means "ward" or "quarter" in common usage. However, in Gurmat

Sangeet and the Guru Granth Sahib, it has a special significance. The term "Mohalla" is used

to indicate which Guru has composed a particular hymn or shabad.

Numerical System

• Mohalla 1 (pahila) refers to Guru Nanak Dev Ji

• Mohalla 2 (duja) refers to Guru Angad Dev Ji

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• Mohalla 3 (teeja) refers to Guru Amar Das Ji

• Mohalla 4 (chautha) refers to Guru Ram Das Ji

• Mohalla 5 (panjva) refers to Guru Arjan Dev Ji

• Mohalla 9 (nauva) refers to Guru Tegh Bahadur Ji

Significance in Gurmat Sangeet

1. Identification Purpose

o Mohalla helps identify the author of specific compositions

o It maintains the authenticity of the sacred texts

o It helps musicians and singers attribute the compositions correctly

2. Musical Context

o Different Mohallas often have distinct musical characteristics

o Each Guru had their unique style of composition

o Understanding Mohalla helps in proper interpretation and rendition

3. Historical Value

o Provides chronological order of compositions

o Helps understand the evolution of Gurmat Sangeet

o Preserves the literary and musical heritage

Rababi Tradition in Gurmat Sangeet

Historical Background

The Rababi tradition began during the time of Guru Nanak Dev Ji. Bhai Mardana, a Muslim

musician who accompanied Guru Nanak on his travels, was the first Rababi. He played the

Rabab (a stringed instrument) while Guru Nanak sang his divine compositions.

Definition and Role

Rababis were professional musicians, traditionally from Muslim backgrounds, who

dedicated their lives to performing Gurbani Kirtan. They were:

• Expert musicians trained in classical music

• Skilled in playing traditional instruments, especially the Rabab

• Preservers and propagators of Gurmat Sangeet traditions

Significant Contributions

1. Musical Excellence

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o Rababis developed and maintained high standards of musical presentation

o They preserved the authentic raag-based tradition of Gurmat Sangeet

o Created unique musical interpretations of Gurbani

2. Preservation of Traditions

o Maintained oral traditions of Gurmat Sangeet

o Passed down musical compositions through generations

o Preserved the original melodic forms (dhuns) of shabads

3. Cultural Bridge

o Represented interfaith harmony in Sikh music

o Contributed to the inclusive nature of Sikhism

o Helped spread Gurmat Sangeet beyond religious boundaries

Famous Rababi Families

1. Bhai Mardana's Legacy

o First and most renowned Rababi

o Set the foundation for the Rababi tradition

o His descendants continued the tradition for generations

2. Other Notable Rababis

o Bhai Chand

o Bhai Satta

o Bhai Balwand

o Their families maintained the tradition for centuries

Musical Characteristics of Rababi Style

1. Vocal Technique

o Emphasis on clear pronunciation

o Deep understanding of raag structure

o Maintenance of traditional melodic patterns

2. Instrumental Accompaniment

o Expertise in Rabab playing

o Use of traditional instruments

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o Balance between vocals and instruments

3. Performance Style

o Adherence to prescribed raags

o Maintaining proper tempo and rhythm

o Focus on emotional and spiritual aspects

Impact on Modern Gurmat Sangeet

Educational Value

1. Learning Resource

o Understanding Mohalla helps students learn about Sikh history

o Rababi traditions provide insights into musical techniques

o Both aspects essential for comprehensive music education

2. Performance Guidelines

o Mohalla helps in choosing appropriate musical settings

o Rababi style influences modern performance practices

o Provides framework for authentic rendition

Contemporary Relevance

1. Modern Adaptations

o Integration of traditional elements in contemporary settings

o Preservation of authentic styles while embracing innovation

o Continuation of musical heritage

2. Cultural Significance

o Represents the inclusive nature of Sikhism

o Promotes interfaith harmony through music

o Maintains connection with historical traditions

Challenges and Preservation

Current Challenges

1. Decline of Rababi Tradition

o Partition of India led to migration of many Rababi families

o Break in the chain of oral tradition

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o Need for systematic documentation

2. Modern Influences

o Impact of popular music on traditional styles

o Changes in musical preferences

o Need to balance tradition with contemporary appeal

Preservation Efforts

1. Documentation

o Recording traditional compositions

o Preserving old manuscripts and recordings

o Creating educational resources

2. Educational Initiatives

o Establishing institutions for Gurmat Sangeet

o Training new generations in traditional styles

o Promoting research and scholarship

Importance in Religious Practice

Spiritual Significance

1. Connection to Sacred Text

o Mohalla system ensures authenticity

o Maintains link with Guru's teachings

o Preserves spiritual essence of compositions

2. Musical Meditation

o Rababi style enhances devotional experience

o Helps in deeper understanding of Gurbani

o Facilitates spiritual connection

Practical Application

1. In Kirtan Performance

o Guides selection of appropriate compositions

o Influences performance style

o Maintains traditional elements

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2. In Learning Process

o Provides structure for music education

o Helps understand historical context

o Maintains authenticity of tradition

Conclusion

Mohalla and Rababi are integral elements of Gurmat Sangeet that represent both its

structural organization and its performance tradition. While Mohalla provides the

framework for understanding and authenticating compositions, the Rababi tradition

represents the artistic and inclusive nature of Sikh music. Together, they form essential

components of the rich musical heritage of Sikhism.

Understanding these concepts is crucial for:

• Music students and performers

• Researchers and scholars

• Religious practitioners

• Cultural preservationists

“This paper has been carefully prepared for educational purposes. If you notice any mistakes or

have suggestions, feel free to share your feedback.”