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GNDU QUESTION PAPERS 2021
BA/BSc 6
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 3 Hours Maximum Marks: 50
Note: There are Eight quesons of equal marks. Candidates are required to aempt any
Four quesons.
1. By giving the meaning of media, explain its role and relevance of media in Indian music.
2. Highlight the contribuon of Pt. Nikhil Benerji towards Indian classical music.
3. Explain the formaon of 72 Thatas by Pt. Vyankat Mukhi.
4. How Raga are related to Season and Time? Explain in detail.
5. Write down the descripon and notaon of Raga Vrindavani Sarang in drut gat with
three toras.
6. Write down Ekgun, Dugun and Chaugun of Tala Jhumra.
7. Describe in detail the salient features of Gurmat Sangeet.
8. Write down in detail the dierent folk instruments of Punjab.
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GNDU ANSWER PAPERS 2021
BA/BSc 6
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 3 Hours Maximum Marks: 50
Note: There are Eight quesons of equal marks. Candidates are required to aempt any
Four quesons.
1. By giving the meaning of media, explain its role and relevance of media in Indian music.
Ans: Meaning of Media and Its Role and Relevance in Indian Music
In today’s fast-moving world, it is almost impossible to imagine life without media. From the
moment we wake up and check our phones to the time we relax by listening to songs,
media surrounds us. But have you ever wondered how media has influenced Indian music?
How did music that was once limited to royal courts and temples reach millions of listeners
across the globe? To understand this, we must first understand the meaning of media and
then explore its powerful role in shaping Indian music.
Meaning of Media
The word media refers to the various channels or tools used to store and deliver
information or entertainment to people. It acts as a bridge between creators and audiences.
Simply put, media is the means through which communication happens on a large scale.
Media can be broadly divided into two main types:
1. Traditional Media:
This includes newspapers, magazines, radio, and television. These were the earliest methods
through which music reached the masses.
2. Digital Media:
This includes the internet, social media platforms, music streaming apps, podcasts, and
video-sharing websites. Digital media has revolutionized how we create, share, and
consume music today.
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In earlier times, if someone wanted to learn or enjoy music, they had to attend live
performances. But media removed these limitations by bringing music directly into people’s
homes.
Role of Media in Indian Music
Media has played a transformative role in the growth and popularity of Indian music. Let us
understand this through different phases.
1. Preservation of Musical Heritage
Indian music has a rich history that goes back thousands of years. Earlier, music was passed
down orally from teacher to student through the guru-shishya tradition. While this method
was deeply personal and effective, it had one major drawback—music could be lost if it was
not properly preserved.
Media solved this problem.
With the invention of recording technologies such as gramophones and tapes, legendary
performances could be stored forever. Today, we can still listen to the voices of great artists
from the past. This preservation ensures that future generations can learn from and
appreciate classical ragas, devotional songs, and folk traditions.
Without media, much of India’s musical treasure might have disappeared.
2. Making Music Accessible to the Masses
At one time, classical music concerts were mostly attended by kings, nobles, or a small
group of music lovers. Ordinary people rarely got the opportunity to experience such
performances.
The arrival of radio completely changed this situation.
When All India Radio (AIR) began broadcasting music, it brought classical, semi-classical,
and folk music into every household. People from villages to big cities could now enjoy high-
quality music without traveling anywhere.
Later, television further enhanced this accessibility by combining sound with visuals.
Viewers could not only hear the music but also observe the expressions, instruments, and
performance styles of artists.
As a result, music became more democratic—it was no longer restricted to a privileged few.
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3. Promotion of Cultural Unity
India is known for its diversity. Every region has its own musical style—Hindustani in the
North, Carnatic in the South, along with countless folk traditions.
Media helped connect these diverse musical cultures.
Through broadcasts and recordings, a person in Punjab could enjoy Carnatic music, while
someone in Tamil Nadu could listen to Hindustani ragas. This exchange promoted mutual
respect and understanding.
Music became a unifying force, reminding people that despite linguistic and cultural
differences, they share a common artistic heritage.
4. Providing Opportunities for Artists
In earlier centuries, musicians often depended on royal patronage for survival. When
kingdoms declined, many artists struggled financially.
Media opened new doors.
Radio stations hired musicians. Film industries created demand for singers and composers.
Music reality shows began discovering hidden talent from small towns. Today, even
independent artists can upload their songs online and gain recognition without needing
powerful connections.
Media transformed music from a passion into a viable profession.
Now, talent matters more than background.
5. Growth of Film Music
One cannot discuss Indian music without mentioning the enormous influence of cinema.
Film songs are perhaps the most widely consumed form of music in India.
Movies rely heavily on music to express emotions—love, joy, sorrow, patriotism, and
devotion. Media platforms such as television and streaming services ensure that these songs
reach millions instantly.
Film music also blends classical, folk, and Western elements, making it appealing to a broad
audience. Because of media exposure, many playback singers have become household
names.
This fusion has kept Indian music dynamic and evolving.
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6. Digital Revolution in Music
The internet has completely transformed the musical landscape.
Today, you do not need to buy CDs or wait for radio programs. With just a smartphone, you
can access millions of songs anytime and anywhere.
Digital media has introduced several advantages:
• Global Reach: Indian music is now heard worldwide. Artists collaborate across
countries.
• Instant Sharing: New songs can become popular overnight.
• Creative Freedom: Musicians experiment with styles without depending on big
studios.
• Interactive Audience: Fans can comment, share, and directly support artists.
However, this revolution also brings challenges such as piracy and intense competition. Still,
the benefits far outweigh the drawbacks.
Relevance of Media in Indian Music Today
Media is no longer just a tool—it is the backbone of the modern music industry.
Its relevance can be understood through the following points:
1. Education and Learning:
Students can learn instruments and vocal techniques through online tutorials. What once
required physical presence can now happen virtually.
2. Preservation of Rare Forms:
Endangered folk traditions are being recorded and shared, preventing them from fading
away.
3. Cultural Representation:
Media showcases India’s musical richness on global platforms, strengthening cultural
identity.
4. Economic Growth:
Concert streaming, online ticket sales, and digital promotions generate revenue for artists
and industries.
5. Youth Engagement:
Young listeners discover classical and traditional music through modern formats, ensuring
continuity.
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Conclusion
Media and Indian music share a deeply interconnected relationship. Media has preserved
the past, enriched the present, and is shaping the future of music.
From gramophones to streaming apps, the journey has been remarkable. Media has made
music accessible, created opportunities for artists, promoted cultural unity, and allowed
Indian melodies to travel far beyond national borders.
Most importantly, media has ensured that music—often called the universal language—
continues to inspire, comfort, and connect people.
As technology continues to advance, the bond between media and Indian music will only
grow stronger. Yet, while platforms may change, the soul of Indian music—its emotion,
spirituality, and creativity—will remain timeless.
2. Highlight the contribuon of Pt. Nikhil Benerji towards Indian classical music.
Ans: Pandit Nikhil Banerjee (1931–1986) is remembered as one of the greatest sitar
maestros of the 20th century. Belonging to the Maihar Gharana, he stood alongside legends
like Pandit Ravi Shankar and Ustad Vilayat Khan, yet carved his own distinct path. His
contribution to Indian classical music lies not only in his technical mastery but also in the
spiritual depth and purity he brought to his performances. Let’s explore his contributions in
detail.
1. Training and Musical Lineage
• Banerjee was trained under Ustad Allauddin Khan, the legendary guru of the Maihar
Gharana, and his son Ustad Ali Akbar Khan.
• This gharana emphasized discipline, purity of raga, and a balance between dhrupad-
influenced depth and khayal-inspired improvisation.
• His training instilled in him a lifelong commitment to spiritual expression through
music, rather than mere technical display.
In simple words: He inherited a tradition that valued devotion and discipline, and he
carried it forward with sincerity.
2. Style and Approach
• Banerjee’s sitar playing was marked by meditative depth. He often described music
as “the cry of the soul for the Supreme soul.”
• Unlike some contemporaries who leaned toward showmanship, Banerjee focused on
purity of raga and emotional intensity.
• His alap (slow introduction) was especially admired for its spiritual quality, unfolding
the raga with patience and reverence.
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• He combined technical brilliance with lyrical beauty, creating performances that felt
like journeys into the soul of the raga.
His style was less about dazzling speed and more about touching the listener’s heart.
3. Contribution to Sitar and Indian Classical Music
• Elevating the Sitar: Banerjee helped establish the sitar as a serious instrument for
deep classical exploration, not just for lighter or popular music.
• Spiritual Dimension: He emphasized the spiritual essence of Indian music, reminding
audiences that ragas are not just melodies but pathways to transcendence.
• Global Recognition: Though less commercially visible than Ravi Shankar, Banerjee’s
concerts in India and abroad earned him immense respect among connoisseurs.
• Recordings: His recordings of ragas like Malkauns, Darbar Kanara, and Manj
Khammaj remain benchmarks for students and lovers of sitar.
• Collaborations: He performed memorable jugalbandis (duets) with Ustad Ali Akbar
Khan, showcasing the depth of Maihar Gharana traditions.
4. Awards and Recognition
• He was awarded the Padma Bhushan, one of India’s highest civilian honors, for his
contribution to music.
• He also received recognition from the Sangeet Natak Akademi and other cultural
institutions.
• Despite his fame, he remained humble, often saying that music was not for fame but
for self-realization and devotion.
5. Legacy and Influence
• Banerjee’s legacy lies in his commitment to purity and spirituality in music.
• Many sitarists and musicians today look up to him as a model of discipline and
devotion.
• His recordings continue to inspire students, offering lessons in patience, subtlety,
and emotional depth.
• He showed that Indian classical music is not just performance—it is a spiritual
practice.
6. Comparison with Contemporaries
• While Ravi Shankar popularized sitar globally through collaborations and Vilayat
Khan emphasized lyrical gayaki (vocal style), Banerjee stood out for his meditative
and spiritual approach.
• He was less concerned with fame and more with authenticity and devotion, which
gave his music a timeless quality.
Wrapping It Up
Pandit Nikhil Banerjee’s contribution to Indian classical music can be summarized as:
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• Purity of Raga: He upheld the spiritual essence of ragas with unmatched sincerity.
• Depth of Expression: His sitar playing was meditative, soulful, and emotionally
powerful.
• Global Recognition: He helped elevate the sitar as a serious classical instrument.
• Legacy of Humility: He showed that music is not about fame but about devotion and
self-realization.
In simple words: Pandit Nikhil Banerjee gave Indian classical music a soulful voice
through the sitar, reminding the world that true art is not about show—it is about touching
the divine.
3. Explain the formaon of 72 Thatas by Pt. Vyankat Mukhi.
Ans: Introduction
Indian classical music is one of the oldest and richest musical traditions in the world. It is
deeply rooted in mathematics, creativity, and emotion. To understand how melodies are
created in this system, we must first understand the concept of Thaat (also spelled That). A
Thaat is basically a parent scale—a group of musical notes from which many ragas (melodic
frameworks) are born.
One of the greatest contributions to the systematic understanding of musical scales was
made by Pt. Vyankat Mukhi, a brilliant musicologist from South India. He is better known as
Venkatamakhin (also spelled Venkatamakhi or Vyankat Mukhi). He developed a scientific
method to classify ragas by creating the famous 72 Melakarta system, often described as
the formation of 72 Thaats in Carnatic (South Indian) music.
Let us explore this concept step-by-step in a simple and engaging way.
Who Was Pt. Vyankat Mukhi?
Pt. Vyankat Mukhi was a respected scholar and musician of the 17th century. He wrote an
important musical treatise called Chaturdandi Prakashika, in which he explained the
structure of ragas and introduced a mathematical way of organizing musical notes.
Before his work, music existed mostly in a traditional and practical form—passed from
teachers to students. There was no clear classification system. Vyankat Mukhi changed this
by giving music a logical framework, making it easier to study, teach, and understand.
What Is a Thaat (Melakarta)?
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To understand the formation of 72 Thaats, imagine music as a language. Just as the alphabet
forms words, musical notes form ragas.
In Indian music, there are 7 basic notes (Swaras):
• Sa
• Re
• Ga
• Ma
• Pa
• Dha
• Ni
Among these:
• Sa and Pa are fixed notes (they do not change).
• The other five notes can have variations.
For example:
• Re can be either Komal (flat) or Shuddha (natural).
• Ma can be Shuddha or Teevra (sharp).
These variations create different combinations—and each combination produces a unique
melodic mood.
The Scientific Thinking Behind 72 Thaats
Vyankat Mukhi approached music almost like a mathematician. He asked a simple question:
If we systematically combine all possible variations of notes without breaking musical
rules, how many parent scales can we create?
To answer this, he followed some important principles:
✔ Every Thaat must contain 7 notes (complete scale).
✔ Notes must appear in order (no skipping).
✔ Both ascending and descending patterns should be possible.
✔ The scale must be musically pleasing.
Now let us see how the number 72 was formed.
Step-by-Step Formation of 72 Thaats
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Step 1: Fixed Notes
• Sa and Pa never change.
So we already have 2 constant notes.
Step 2: Variations of Ma
Ma has 2 forms:
1. Shuddha Ma
2. Teevra Ma
So now we have 2 possibilities.
Step 3: Variations of Re and Ga
Re and Ga together create 6 valid combinations (because Ga must always be higher than
Re).
Think of it like climbing stairs—you cannot step backward.
Step 4: Variations of Dha and Ni
Similarly, Dha and Ni also create 6 valid combinations.
Now the Mathematics
Let us multiply the possibilities:
6 (Re-Ga combinations)
× 6 (Dha-Ni combinations)
× 2 (Ma variations)
6 × 6 × 2 = 72
Therefore, 72 Thaats (Melakarta ragas) are formed.
This logical arrangement is one of the finest examples of mathematics blending beautifully
with art.
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Why Was This Discovery So Important?
Before Vyankat Mukhi, learning music was like walking through a forest without a map.
After his classification:
✔ Musicians could easily identify relationships between ragas.
✔ Students found it easier to learn scales systematically.
✔ New ragas could be created scientifically.
✔ Music gained academic depth.
Even today, the Melakarta system remains the backbone of Carnatic music theory.
The Chakra System – Grouping the 72 Thaats
To make learning easier, Vyankat Mukhi divided the 72 Thaats into 12 groups, called
Chakras.
• Each Chakra contains 6 Thaats.
• The first 36 use Shuddha Ma.
• The next 36 use Teevra Ma.
Think of Chakras as chapters in a book—they organize information so it becomes less
overwhelming.
Some famous Melakarta ragas include:
• Mayamalavagowla – often taught to beginners because of its balanced structure.
• Kharaharapriya – known for its emotional depth.
• Todi (Carnatic raga) – famous for its serious and devotional mood.
These ragas act as “parents,” giving birth to many derived ragas called Janya ragas.
Difference Between North and South Indian Systems
It is interesting to note that while Carnatic music follows the 72 Melakarta system, North
Indian music later adopted a simpler system of 10 Thaats, developed by Vishnu Narayan
Bhatkhande.
Why fewer?
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Because Hindustani music focuses more on commonly performed ragas rather than all
theoretical possibilities.
Still, Bhatkhande’s work was inspired by the logical classification tradition started by
Vyankat Mukhi.
Understanding Through a Simple Analogy
Imagine you have:
• 6 shirt colors
• 6 trouser colors
• 2 jacket styles
How many outfits can you create?
6 × 6 × 2 = 72
Similarly, musical notes combine to create 72 parent scales!
This shows that music is not just emotional—it is also highly structured.
Educational Value of the 72 Thaat System
For students, this system offers several advantages:
Builds strong theoretical foundation
Improves understanding of ragas
Enhances creativity in composition
Makes memorization easier
Develops analytical thinking
In short, it transforms music from mere performance into a subject that can be studied
scientifically.
Criticism and Practical Reality
Although 72 Thaats exist theoretically, not all are commonly used in performances.
Why?
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Because some scales may sound less melodious or harder to develop into full ragas.
But that does not reduce the brilliance of the system—it simply shows that theory explores
every possibility, while practice selects the most beautiful ones.
Conclusion
The formation of 72 Thaats by Pt. Vyankat Mukhi stands as one of the greatest intellectual
achievements in Indian classical music. By combining logic with artistic sensitivity, he
created a framework that continues to guide musicians even centuries later.
His work reminds us that music is not only about feelings—it is also about structure,
discipline, and thoughtful design.
When we look at the Melakarta system, we see more than just scales; we see a carefully
organized universe of sound where every note has a place and every combination tells a
story.
4. How Raga are related to Season and Time? Explain in detail.
Ans: One of the most fascinating aspects of Indian classical music is the way ragas are
connected to specific times of the day and even seasons of the year. Unlike Western music,
which often focuses on harmony and fixed compositions, Indian classical music emphasizes
mood, emotion, and atmosphere. The belief is that each raga resonates most deeply when
performed at the time or season it is traditionally associated with. Let’s explore this in
detail.
1. What is a Raga?
• A raga is not just a scale—it is a melodic framework with specific rules about which
notes to use, how to ascend (aaroh) and descend (avroh), and how to emphasize
certain notes.
• Each raga is designed to evoke a particular rasa (emotion)—joy, devotion, longing,
peace, or energy.
• The emotional power of a raga is believed to be heightened when performed at its
prescribed time.
In simple words: A raga is like a musical personality, and its “mood” shines brightest at
certain times of day or seasons.
2. The Time Theory of Ragas
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Indian classical music, especially in the Hindustani tradition, follows a time theory that links
ragas to specific hours.
a) Division of the Day
The 24-hour cycle is divided into eight three-hour segments, each associated with certain
ragas.
• Morning Ragas (6 AM – 9 AM): Calm, devotional, fresh. Example: Bhairav.
• Late Morning (9 AM – 12 PM): Bright, uplifting. Example: Deshkar.
• Afternoon (12 PM – 3 PM): Light, playful. Example: Sarang.
• Late Afternoon (3 PM – 6 PM): Energetic, romantic. Example: Multani.
• Evening (6 PM – 9 PM): Serious, devotional. Example: Yaman.
• Late Evening (9 PM – 12 AM): Intense, emotional. Example: Darbari Kanada.
• Midnight (12 AM – 3 AM): Deep, meditative. Example: Malkauns.
• Pre-dawn (3 AM – 6 AM): Spiritual, serene. Example: Todi.
The idea is that the natural atmosphere—light, temperature, human activity—affects
how a raga feels, and the raga in turn enhances that atmosphere.
3. Seasonal Association of Ragas
Beyond time of day, ragas are also linked to seasons, reflecting India’s cultural and natural
rhythms.
• Spring (Vasant): Joyful, fresh ragas like Vasanta and Hindol.
• Summer: Ragas that bring coolness and relief, like Megh and Malhar.
• Monsoon: Ragas like Miyan ki Malhar evoke the sound and mood of rain.
• Autumn: Ragas like Basant Bahar symbolize transition and beauty.
• Winter: Deep, meditative ragas like Malkauns and Bhairav.
In simple words: Just as certain foods or festivals belong to certain seasons, ragas too
are “seasonal,” matching nature’s mood.
4. Why Are Ragas Linked to Time and Season?
• Emotional Resonance: The human mind and body respond differently at different
times—calm in the morning, energetic in the afternoon, reflective at night. Ragas
align with these states.
• Natural Atmosphere: The quality of light, temperature, and environment influences
how music feels.
• Tradition and Ritual: Ancient texts and practices emphasized performing ragas at
specific times to maximize their spiritual and emotional impact.
• Psychological Effect: Listeners often feel a deeper connection when the raga
matches the natural rhythm of the day or season.
5. Modern Relevance
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• In concerts today, strict adherence to time theory is less common, since
performances are scheduled for convenience.
• However, many musicians still believe ragas sound most authentic at their
prescribed times.
• Seasonal ragas, especially monsoon ragas like Malhar, remain popular and are often
performed to celebrate nature.
6. Examples of Famous Ragas and Their Timing
Raga
Time/Season
Mood/Emotion
Bhairav
Early morning
Devotion, calm
Yaman
Evening
Serenity, romance
Darbari Kanada
Late night
Serious, intense
Malkauns
Midnight
Meditative, deep
Miyan ki Malhar
Monsoon season
Joy of rain
Vasanta
Spring
Freshness, joy
Wrapping It Up
• Ragas are linked to time and season because they are designed to resonate with the
natural and emotional rhythms of life.
• Morning ragas bring peace, evening ragas bring devotion, midnight ragas bring
meditation, and seasonal ragas celebrate nature.
• This tradition reflects the holistic philosophy of Indian classical music, where art is
not separate from life but deeply woven into its cycles.
In simple words: Ragas are like musical companions to the day and year—each one
belongs to a particular moment, making that moment more beautiful and meaningful.
5. Write down the descripon and notaon of Raga Vrindavani Sarang in drut gat with
three toras.
Ans: Indian classical music is not just about notes — it is about emotion, atmosphere, and
storytelling through sound. Every raga has its own personality, just like a human being.
Some ragas are serious and deep, some are romantic, and some feel joyful and refreshing.
Raga Vrindavani Sarang belongs to the third category — it is bright, peaceful, devotional,
and full of natural beauty. When you hear this raga, it often feels like a gentle breeze on a
warm afternoon.
Let us understand this raga step-by-step in a very simple and engaging way.
What is Raga Vrindavani Sarang?
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The name itself gives us a clue.
• “Vrindavani” comes from Vrindavan, the sacred land associated with Lord Krishna.
• “Sarang” is a group (thaat family style) of ragas known for their sweet and shining
character.
Because of this connection, the raga often expresses:
Devotion
Calmness
Spiritual joy
Natural beauty
It is commonly performed in the afternoon, typically between 12 PM and 3 PM, when the
sunlight is strong but the wind feels soothing.
Imagine sitting under a tree during midday while soft music flows — that is exactly the
mood of Vrindavani Sarang.
Basic Description (Lakshan) of Raga Vrindavani Sarang
Here are the important theoretical details every student should know:
✔ Thaat (Parent Scale):
Kafi Thaat
✔ Jati (Number of Notes Used):
Audav – Audav
(5 notes in ascent and 5 in descent)
✔ Important Notes:
• Vadi (Most Important Note): Re
• Samvadi (Second Important): Pa
These two notes create the backbone of the raga.
✔ Time of Performance:
Afternoon
✔ Nature (Prakriti):
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• Peaceful
• Devotional
• Sweet
✔ Special Rule:
Ga (Gandhar) and Dha (Dhaivat) are NOT used.
This absence is what gives the raga its clean and open sound.
Notation (Swar Structure)
Now let us understand how the notes move.
✔ Aroh (Ascending Scale):
Sa Re Ma Pa Ni Sa’
Notice how smoothly the notes climb upward without Ga and Dha.
✔ Avroh (Descending Scale):
Sa’ Ni Pa Ma Re Sa
Very simple, very pure — no complicated twists.
✔ Pakad (Signature Phrase):
Ni Sa Re, Ma Re, Pa Ma Re
The pakad is like the identity of the raga. Even if you hear only this phrase, trained ears can
recognize Vrindavani Sarang instantly.
Understanding Drut Gat
Before writing the notation, let us quickly understand what Drut Gat means.
• Drut = Fast tempo
• Gat = A fixed melodic composition usually played on instruments like sitar, sarod, or
violin, accompanied by tabla.
After a slow introduction (Alap and Vilambit), musicians increase the speed to energize the
performance — this is where Drut Gat shines.
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It brings excitement and rhythm into the concert.
Think of it like the difference between walking peacefully and suddenly breaking into a
joyful run!
Example of Drut Gat in Teentaal (16 Beats)
Taal: Teentaal
Matra: 16
Division: 4 + 4 + 4 + 4
Drut Gat Notation:
Sthai:
| Sa Re Ma Pa | Ni Sa’ Ni Pa |
| Ma Re Pa Ma | Re Sa - - |
| Ni Sa Re Ma | Pa Ni Sa’ - |
| Sa’ Ni Pa Ma | Re Sa - - |
Antara:
| Sa’ Sa’ Ni Pa | Ma Pa Ni Sa’ |
| Sa’ Ni Pa Ma | Re Ma Pa - |
| Ni Sa’ Ni Pa | Ma Re Sa - |
| Ni Sa Re Ma | Pa Ma Re Sa |
This composition moves quickly but gracefully, maintaining the peaceful nature of the raga
even at high speed.
Three Beautiful Toras (Taan Patterns)
Tora (or Taan) refers to fast melodic passages that display a musician’s skill. They add
sparkle and excitement to the performance.
Let us look at three easy toras suitable for students.
Tora 1 (Straight and Flowing)
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Sa Re Ma Pa Ni Sa’
Sa’ Ni Pa Ma Re Sa
Re Ma Pa Ni Pa Ma
Re Sa
This tora follows the natural structure of the raga — perfect for beginners.
Tora 2 (Zig-Zag Style)
Ni Sa Re Ma Re Sa
Re Ma Pa Ni Sa’
Ni Pa Ma Re
Sa Re Ma Pa
Re Sa
The slight back-and-forth motion makes it more interesting.
Tora 3 (Fast and Energetic)
Sa Re Ma Pa Ni Sa’ Ni Pa
Ma Pa Ni Sa’ Re Sa’
Sa’ Ni Pa Ma Re
Ma Re Sa
This one sounds brilliant when played in high speed.
Emotional Beauty of Vrindavani Sarang
One of the most wonderful things about this raga is its emotional clarity.
It is neither too heavy nor too playful — it sits perfectly in the middle.
Musicians often use it to create:
✔ A devotional atmosphere
✔ Feelings of surrender
✔ Gentle happiness
✔ Mental relaxation
Because of its simplicity, even beginners can connect with it quickly.
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Yet, despite being simple, great masters can expand it into something deeply mesmerizing.
That is the magic of Indian classical music — simplicity with infinite depth.
6. Write down Ekgun, Dugun and Chaugun of Tala Jhumra.
Ans: 1. What is Tala Jhumra?
• Jhumra is a tala (rhythmic cycle) in Hindustani classical music.
• It has 14 beats (matras) in its cycle.
• The beats are grouped as: 4 + 4 + 2 + 4.
• The sam (first beat of the cycle) is very important, as it is the point where
compositions resolve.
• The khali (empty beat) is on the 9th matra.
In simple words: Jhumra is a 14-beat rhythmic cycle, slower and more elaborate, often
used in khayal singing.
2. Concept of Ekgun, Dugun, and Chaugun
These terms describe the laykari (tempo variations) in which a composition or padhant
(recitation of bols) is performed:
• Ekgun (Single Speed): The bols (syllables) are recited exactly as they fit into the tala
cycle. One bol per beat.
• Dugun (Double Speed): The bols are recited twice as fast—two bols per beat.
• Chaugun (Quadruple Speed): The bols are recited four times as fast—four bols per
beat.
In simple words: Ekgun is normal speed, Dugun is double speed, and Chaugun is four
times faster.
3. Theka of Jhumra Tala
The theka (basic pattern of bols played on tabla) for Jhumra is:
Code
Dhin | Dhin - Dha | Tin - Tin - Ta | Dhin - Dhin - Dha
Breaking it down into 14 beats:
1. Dhin
2. Dhin
3. Dha
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4. Tin
5. Tin
6. Ta
7. Dhin
8. Dhin
9. Dha (Khali)
10. Tin
11. Tin
12. Ta
13. Dhin
14. Dhin
4. Ekgun of Jhumra
• In Ekgun, the theka is played exactly as above, one bol per beat.
• Example:
Code
Dhin | Dhin - Dha | Tin - Tin - Ta | Dhin - Dhin - Dha
• Each bol fits naturally into the 14-beat cycle.
5. Dugun of Jhumra
• In Dugun, every beat carries two bols.
• The theka is expanded to double speed:
Code
Dhin Dhin | Dhin Dha | Tin Tin | Tin Ta | Dhin Dhin | Dhin Dha ...
• This creates a faster, more energetic feel while still fitting into the 14-beat cycle.
6. Chaugun of Jhumra
• In Chaugun, every beat carries four bols.
• The theka becomes much denser and more complex:
Code
Dhin Dhin Dhin Dhin | Dhin Dhin Dhin Dha | Tin Tin Tin Tin | Tin Tin Tin Ta ...
• This quadruple speed requires great precision and control, often used to showcase
virtuosity in tabla playing.
7. Importance of Laykari in Jhumra
• Ekgun establishes the tala clearly.
• Dugun adds variation and excitement.
• Chaugun demonstrates mastery and rhythmic brilliance.
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• Together, they show how a single tala can be experienced at different speeds,
enriching the performance.
8. Practical Application
• In khayal singing, Jhumra is often used for slow elaboration of ragas. The singer may
begin in Ekgun, then move to Dugun or Chaugun for rhythmic variation.
• In tabla solos, performers use laykari to demonstrate skill, moving from Ekgun to
Dugun to Chaugun seamlessly.
7. Describe in detail the salient features of Gurmat Sangeet.
Ans: Gurmat Sangeet is one of the most beautiful and spiritually uplifting traditions of
Indian devotional music. The word Gurmat means “the Guru’s wisdom or teachings,” and
Sangeet means “music.” Together, Gurmat Sangeet refers to the sacred musical tradition
used to sing the hymns (Shabads) of the Sikh Gurus as recorded in the Guru Granth Sahib,
the holy scripture of Sikhism. It is not just music meant for entertainment—it is music
designed to connect the human soul with the Divine.
Let us explore the salient (main) features of Gurmat Sangeet in a simple and engaging way
so that anyone, even a beginner, can understand its depth and beauty.
1. Spiritual Foundation
The most important feature of Gurmat Sangeet is its deep spiritual purpose. Unlike many
other musical traditions that focus mainly on performance or artistic expression, Gurmat
Sangeet exists to spread the message of the Gurus and help people meditate on God.
When hymns are sung in the prescribed musical form, they create a peaceful atmosphere
that encourages listeners to reflect on life, morality, and devotion. The goal is not
applause—it is inner transformation.
The Sikh Gurus believed that music has the power to calm the mind and open the heart.
When a person listens to sacred singing, their thoughts slow down, and they feel closer to
the Creator. This is why music holds such an important place in Sikh worship.
2. Based on Ragas
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One of the most distinctive features of Gurmat Sangeet is its foundation in the raga system
of Indian classical music. A raga is a specific melodic framework designed to evoke certain
emotions.
The Guru Granth Sahib is uniquely organized according to ragas. There are 31 main ragas in
which the hymns are composed. Each raga reflects a particular mood—some express
devotion, others longing, peace, or joy.
For example:
• Morning ragas inspire freshness and spiritual awakening.
• Evening ragas create a sense of calm and reflection.
This shows that the Gurus carefully chose musical patterns so that the message of the hymn
would reach the listener’s heart more effectively.
By following ragas, Gurmat Sangeet maintains discipline and structure, ensuring that the
original spirit of the hymns remains intact.
3. Shabad Kirtan – The Heart of Gurmat Sangeet
At the center of Gurmat Sangeet is Shabad Kirtan, which means singing the sacred verses of
the Gurus.
In Sikh places of worship (Gurdwaras), trained musicians called Ragis perform kirtan. But the
tradition also encourages community participation—everyone can sing together.
This collective singing creates a powerful sense of unity. Rich or poor, young or old—when
people sit together and sing, all differences disappear. Music becomes a bridge connecting
individuals to each other and to God.
Another important point is that the lyrics are always more important than the melody. The
music supports the message rather than overshadowing it.
4. Simplicity and Purity
Gurmat Sangeet emphasizes simplicity. The singing style is usually clear and devotional
rather than overly dramatic or decorative.
Why is simplicity important?
Because the purpose is understanding the divine message. If the music becomes too
complicated, listeners may focus more on technical brilliance than on spiritual meaning.
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The Gurus wanted their teachings to be accessible to everyone, including ordinary people
who had no formal training in music. Therefore, Gurmat Sangeet avoids unnecessary
showmanship.
It teaches us that true beauty lies in sincerity, not complexity.
5. Traditional Instruments
Historically, Gurmat Sangeet used a variety of classical instruments. Some of these were
even encouraged by the Sikh Gurus themselves.
Common traditional instruments include:
• Rabab – one of the earliest instruments used to accompany Guru Nanak.
• Saranda
• Taus
• Dilruba
• Jori (similar to tabla)
These instruments produce soft, soulful sounds that complement devotional singing.
Although modern performances sometimes use the harmonium and tabla, many musicians
today are reviving older instruments to preserve the original tradition.
This revival shows the community’s respect for heritage and authenticity.
6. Connection Between Music and Poetry
Another remarkable feature of Gurmat Sangeet is the perfect blending of poetry and
melody.
The hymns in the Guru Granth Sahib are written in poetic forms such as:
• Padas
• Ashtpadis
• Chhants
• Vars
Each poetic structure has its own rhythm, and the music follows that rhythm naturally.
This harmony between words and sound makes the hymns easier to remember and deeply
touching. Even someone hearing them for the first time can feel their emotional power.
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It proves that when poetry and music unite, they can communicate spiritual truths more
effectively than plain speech.
7. Equality and Inclusiveness
Gurmat Sangeet reflects one of the core teachings of Sikhism—equality.
Anyone can participate in kirtan regardless of caste, gender, or social background.
Historically, this was revolutionary in a society divided by rigid hierarchies.
When people gather to sing together, they sit on the floor at the same level. No one is
higher or lower.
This musical practice silently teaches a powerful lesson:
In the eyes of God, all humans are equal.
8. Discipline and Authenticity
Gurmat Sangeet follows a disciplined tradition. The ragas specified in the Guru Granth Sahib
are meant to be respected.
While creativity is appreciated, altering the structure too much is discouraged because it
may distort the original intention of the hymn.
Think of it like preserving a priceless painting—you may admire it from different angles, but
you wouldn’t repaint it.
Maintaining authenticity ensures that future generations experience the hymns as the
Gurus intended.
9. Emotional and Meditative Impact
One cannot talk about Gurmat Sangeet without mentioning its emotional depth.
Listeners often describe feelings such as:
• Peace
• Comfort
• Spiritual awakening
• Hope
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The repetitive and melodic nature of kirtan naturally leads to a meditative state. Even a
restless mind can become calm while listening.
In today’s fast-paced world filled with stress, this tradition offers a moment of stillness—a
chance to breathe and reconnect with what truly matters.
10. A Living Tradition
Perhaps the most inspiring feature of Gurmat Sangeet is that it is not just history—it is a
living tradition.
Every day, across the world, kirtan is sung in Gurdwaras. Children learn it, musicians
research it, and communities cherish it.
Despite modern influences, the essence remains unchanged: music as a pathway to the
Divine.
This continuity shows the timeless relevance of the Gurus’ vision.
Conclusion
Gurmat Sangeet is far more than a musical style—it is a spiritual journey expressed through
sound. Rooted in ragas, guided by sacred poetry, and focused on devotion, it transforms
both the singer and the listener.
Its salient features—spiritual purpose, simplicity, equality, disciplined structure, and
emotional depth—make it unique among musical traditions.
In a world where music is often used for entertainment, Gurmat Sangeet reminds us of a
higher possibility: music as prayer, music as meditation, music as a bridge between the
human soul and the Divine.
When we truly listen to Gurmat Sangeet, we do not just hear notes—we experience peace,
humility, and a sense of belonging.
8. Write down in detail the dierent folk instruments of Punjab.
Ans: Folk Instruments of Punjab
Punjab’s folk music is inseparable from its vibrant instruments. These instruments are not
just tools for producing sound—they are carriers of tradition, identity, and emotion.
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Whether in Bhangra, Giddha, or devotional singing, each instrument adds a unique flavor to
the rhythm and melody of Punjabi culture. Let’s explore them in detail.
1. Algoza (Double Flute)
• A pair of wooden flutes played simultaneously.
• One flute plays the melody while the other provides a drone.
• Requires immense breath control and coordination.
• Commonly used in folk songs and dances, especially in rural Punjab. Creates a
soulful, continuous sound that feels like the heartbeat of Punjabi fields.
2. Bugchu
• A small, hourglass-shaped instrument similar to a damru.
• Played by pulling a string attached to its membrane while squeezing the body.
• Produces a rhythmic “twang” sound.
• Popular in Bhangra and Malwai Giddha performances. Adds playful energy and
comic timing to folk dances.
3. Chimta
• A metallic tong fitted with jingling discs.
• Played by striking the two arms together.
• Often used by wandering minstrels and in devotional singing. Its sharp, metallic
rhythm cuts through the air, energizing the crowd.
4. Dilruba
• A bowed string instrument, combining features of sitar and sarangi.
• Invented about 300 years ago, often used in Sikh devotional music.
• Produces a sweet, melodious tone. Perfect for kirtan and classical-style folk
singing.
5. Dhadd
• A small hourglass drum played with fingers.
• Produces sharp, quick beats.
• Used by balladeers (dhaddis) to accompany heroic or devotional songs. Its crisp
rhythm makes storytelling powerful and engaging.
6. Dhol
• The most iconic Punjabi instrument.
• A large barrel drum played with sticks.
• Central to Bhangra and festive occasions. Its thunderous beats symbolize
celebration and energy.
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7. Gagar and Gharha
• Metal or clay pots used as percussion instruments.
• Played by striking with rings or sticks.
• Common in women’s folk performances like Giddha. Everyday household items
transformed into instruments of joy.
8. Ektara
• A single-string instrument used by wandering minstrels.
• Produces a simple, drone-like sound.
• Associated with spiritual and folk singing. Symbol of simplicity and devotion,
often used by Sufi singers.
9. Kato
• A wooden instrument shaped like a squirrel.
• Played by pulling a string that makes the squirrel’s mouth move.
• Creates a comic, rhythmic sound. Adds humor and liveliness to folk
performances.
10. Khartal
• Wooden clappers used to produce rhythmic beats.
• Played by striking them together in fast patterns. Simple yet effective in keeping
rhythm during folk songs.
11. Sapp (Sapera)
• A wooden instrument shaped like a snake, operated by opening and closing its joints.
• Produces a clapping sound.
• Common in Malwai Giddha. Adds dramatic flair and visual rhythm to
performances.
12. Sarangi
• A bowed string instrument with multiple strings.
• Known for its ability to mimic the human voice.
• Used in classical and folk music. Its emotional depth makes it ideal for expressing
sorrow and devotion.
13. Tumbi
• A single-string instrument, small and portable.
• Played with rapid plucking.
• Popularized in modern Punjabi music by artists like Gurdas Maan. Its sharp,
twangy sound is instantly recognizable in Punjabi folk and pop.
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“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
