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GNDU QUESTION PAPERS 2021
BA/BSc 6
th
SEMESTER
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: There are Eight quesons of equal marks. Candidates are required to aempt any
Four quesons.
1. Explain the 72 that music system of Pt. Vyankatmukhi.
2. What is Dhomar Gayon. Explain.
3. Explain the characteriscs of Paala Gharana.
4. How important is the role of Yoga for a musician.
5. Write 5 alaps and 5 taans in Taal Ektaal in Raag Jaunpuri.
6. Write the complete detail of Taal Dhomaor and notaon of the taal in one avartan in
Chaugan.
7. Explain the contribuon of Guru Gobind Singh Ji in the eld of music.
8. Girija Devi is famous for which style of Gayaki. Write a brief of her life sketch.
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GNDU ANSWER PAPERS 2021
BA/BSc 6
th
SEMESTER
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: There are Eight quesons of equal marks. Candidates are required to aempt any
Four quesons.
1. Explain the 72 that music system of Pt. Vyankatmukhi.
Ans: . Who Was Pt. Vyankatmukhi?
Pandit Vyankatmukhi was a great South Indian musicologist who lived around the 17th
century. He wrote an important treatise on music called “Chaturdandi Prakashika.” In this
work, he explained a systematic way to organize ragas so that musicians could understand,
classify, and create music more easily.
Before his system, ragas were known and performed, but there was no proper scientific
classification. Imagine a classroom where books are scattered everywhere—finding the right
one would be difficult. Vyankatmukhi essentially created a cataloging system for music.
What Is the Melakarta System?
The word Melakarta can be understood as:
• “Mela” – a group or parent scale
• “Karta” – the creator
So, Melakarta ragas are parent ragas from which many other ragas are born. These child
ragas are called Janya ragas.
Think of Melakarta ragas like a tree trunk, and the Janya ragas like branches growing from it.
Basic Foundation: The Seven Notes (Swaras)
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Indian classical music is based on seven fundamental notes:
Sa, Re, Ga, Ma, Pa, Dha, Ni
However, some of these notes have variations. For example:
• Re, Ga, Dha, and Ni can have multiple forms.
• Ma has two types:
o Shuddha Ma (natural)
o Teevra Ma (sharp)
By combining these variations in different ways—but following strict musical rules—
Vyankatmukhi created 72 parent scales.
Rules of a Melakarta Raga
For a raga to be called a Melakarta, it must follow certain conditions:
1. It must contain all seven notes (Sa to Ni).
2. The notes must appear in order (no zig-zag pattern).
3. The same notes must be used while ascending (Arohana) and descending
(Avarohana).
4. Sa and Pa are fixed notes.
5. Only one type of Ma can be used in a single raga.
These rules ensure that every Melakarta raga is complete and logically structured.
How Did Vyankatmukhi Arrive at 72?
Now comes the interesting mathematical side!
• There are 6 possible variations of Re and Ga.
• There are 6 possible variations of Dha and Ni.
• There are 2 types of Ma.
So when we calculate:
6 × 6 × 2 = 72
That is how the 72 Melakarta ragas were formed.
Isn’t it fascinating? Music and mathematics working together!
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Division of the 72 Melakarta Ragas
To make learning easier, these 72 ragas are divided into two main groups:
First 36 Melakarta Ragas
These use Shuddha Ma (natural Ma).
Next 36 Melakarta Ragas
These use Teevra Ma (sharp Ma).
So the only difference between the two halves is the type of “Ma.”
The Chakra System (Grouping of Six)
Vyankatmukhi went even further and grouped the ragas into 12 chakras, each containing 6
ragas.
The word chakra means “wheel.” Each wheel represents a set of ragas with similar note
patterns.
For example:
• Chakra 1 – Indu
• Chakra 2 – Netra
• Chakra 3 – Agni
• Chakra 4 – Veda
…and so on until 12.
This makes the system extremely organized—like chapters in a book.
Instead of memorizing 72 ragas randomly, musicians can learn them in structured clusters.
Why Is the Melakarta System So Important?
Scientific Organization
Vyankatmukhi proved that music is not just emotional—it can also be logical and
mathematical.
Helps in Creating New Ragas
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Because the parent scales are clearly defined, musicians can experiment and develop new
ragas without breaking musical rules.
Easy Learning for Students
Students don’t feel lost. They can progress step by step, understanding how ragas are
related.
Strong Foundation of Carnatic Music
Even today, the Melakarta system forms the backbone of Carnatic classical music.
Most ragas you hear in South Indian concerts trace their roots back to these parent scales.
Understanding Through a Simple Analogy
Imagine a paint box with 72 base colors.
From these colors, you can mix thousands of shades.
Similarly:
Melakarta = Base Colors
Janya Ragas = Mixed Shades
Without the base colors, creating new shades would be chaotic.
Vyankatmukhi gave musicians that perfect palette.
A Living System — Not Just Theory
One beautiful aspect of the 72 Melakarta system is that it is not merely theoretical.
Many famous ragas come directly from it, such as:
• Mayamalavagowla – often the first raga taught to beginners.
• Kalyani – bright and majestic.
• Charukeshi – emotional and expressive.
These ragas are widely performed even today.
This shows how timeless Vyankatmukhi’s work is.
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Why Students Should Understand This
At first glance, remembering “72 ragas” might feel overwhelming.
But don’t think of it as memorization.
Instead, see it as understanding the architecture of music.
When you understand the system:
• You recognize patterns faster.
• Your listening skills improve.
• Your creativity grows.
• You appreciate classical music on a deeper level.
It is like learning grammar before writing poetry.
The Genius of Vyankatmukhi
What makes Vyankatmukhi truly remarkable is his ability to combine:
• Art
• Logic
• Mathematics
• Creativity
He didn’t just preserve music—he made it future-ready.
Even after 300–400 years, musicians still rely on his classification.
That is the mark of true genius.
Conclusion
The 72 Melakarta system of Pt. Vyankatmukhi is a milestone in Indian classical music. It
transformed music from an unorganized collection of ragas into a beautifully structured
science.
By defining parent scales, setting clear rules, and organizing ragas into chakras,
Vyankatmukhi made music easier to learn, teach, and expand.
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2. What is Dhomar Gayon. Explain.
Ans: 1. What is Dhamar Gayon?
• Dhamar Gayon refers to the singing style of compositions set in Dhamar Tala.
• It is considered a lighter and more playful branch of Dhrupad, though it retains the
dignity and depth of classical tradition.
• The compositions often carry themes of love, devotion, and festivity, especially the
joyous mood of Holi.
• The rhythmic cycle of Dhamar Tala has 14 beats (matras), grouped asymmetrically as
5 + 2 + 3 + 4.
In simple words: Dhamar Gayon is a classical singing style that blends the seriousness of
Dhrupad with the festive joy of Holi, performed in a unique 14-beat rhythm.
2. Structure of Dhamar Tala
The theka (basic rhythmic pattern) of Dhamar Tala is:
Ka Dhi Ta Dhi Ta | Dha - | Ta Ka Thun | Ta - Ka Dhi Ta Dhi Ta
• Sam (first beat): The point of resolution, very important in performance.
• Khali (empty beat): Usually on the 8th matra, marked by a wave of the hand instead
of a clap.
This tala is played on the pakhawaj (traditional drum) or sometimes tabla, giving Dhamar
Gayon its distinctive rhythmic flavor.
3. Features of Dhamar Gayon
• Nom-Tom Alaap: Like Dhrupad, Dhamar Gayon begins with a slow, meditative alaap
using syllables like “nom” and “tom.”
• Playful Lyrics: The compositions often describe Krishna’s mischievous acts—
throwing colors, teasing the Gopis, or celebrating Holi.
• Laykari (Rhythmic Variations): Performers use dugun (double speed), tigun (triple
speed), chaugun (quadruple speed) to showcase rhythmic mastery.
• Balance of Seriousness and Joy: While rooted in the gravity of Dhrupad, Dhamar
Gayon has a lighter, more festive mood.
4. Themes in Dhamar Compositions
• Krishna and Holi: Most Dhamar songs revolve around Krishna’s playful teasing
during Holi.
• Romantic Devotion: Expressions of love between Radha and Krishna.
• Festivity: Celebration of spring, colors, and joy.
• Spiritual Symbolism: Beyond playfulness, the lyrics often symbolize the soul’s
longing for union with the divine.
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In simple words: Dhamar Gayon is like a musical celebration of Holi, mixing devotion
with festivity.
5. Importance in Hindustani Classical Music
• Preserves Tradition: Dhamar Gayon keeps alive the ancient Dhrupad style while
adding a lighter dimension.
• Rhythmic Complexity: Its 14-beat tala challenges both singers and percussionists,
making it a showcase of skill.
• Cultural Connection: By linking music to Holi, it connects classical art with everyday
cultural life.
• Spiritual Depth: Even in its playfulness, Dhamar Gayon retains the meditative
essence of Indian classical music.
6. Example of a Dhamar Composition
A typical Dhamar song might describe Krishna throwing colors on Radha:
“Rang barse, Radha sang Krishna khele hori…” (Colors are showered, Krishna plays Holi with
Radha.)
The lyrics are sung with rhythmic variations, weaving joy and devotion together.
7. Comparison with Dhrupad
Aspect
Dhrupad
Dhamar Gayon
Mood
Serious, meditative, devotional
Playful, festive, devotional
Tala
Chautal (12 beats), Sooltal (10 beats)
Dhamar Tala (14 beats)
Themes
Philosophy, devotion, praise of gods
Krishna’s playfulness, Holi festival
Performance
Slow, majestic
Lively, rhythmic, colorful
Wrapping It Up
• Dhamar Gayon is a classical singing style performed in Dhamar Tala (14 beats).
• It blends the seriousness of Dhrupad with the festive joy of Holi, often depicting
Krishna’s playful acts.
• Its features include Nom-Tom Alaap, rhythmic variations, and playful lyrics.
• It holds cultural importance by connecting classical music with seasonal festivals and
spiritual symbolism.
In simple words: Dhamar Gayon is like the musical soul of Holi—a classical style that
celebrates joy, devotion, and rhythm all at once.
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3. Explain the characteriscs of Paala Gharana.
Ans: What is Patiala Gharana?
Before discussing its characteristics, it is important to understand what a gharana means. In
Indian classical music, a gharana is like a musical family or school where a particular style is
developed and passed down from teacher to student over many years.
The Patiala Gharana originated in the royal city of Patiala (now in Punjab) during the 19th
century. It was founded by Ustad Ali Baksh Khan and Ustad Fateh Ali Khan, who blended
different musical influences to create a style that was both technically brilliant and
emotionally appealing.
This gharana is especially famous for Khyal singing, but its singers are also known for their
excellence in Thumri, Dadra, and other light-classical forms.
Main Characteristics of Patiala Gharana
Now let us understand the features that make this gharana unique.
1. Sweet and Melodious Voice Production
One of the first things you notice when listening to a Patiala singer is the sweetness of the
voice. The singing is open-throated, natural, and smooth rather than heavy or overly
serious.
Instead of sounding rigid, the voice flows easily across notes. This creates a pleasant
listening experience even for people who are not trained in classical music.
Think of it like honey being poured into a bowl—soft, continuous, and attractive.
Key Points:
• Open and flexible voice
• Emphasis on beauty of sound
• Effortless movement between notes
2. Use of Fast Taans (Lightning-Speed Note Patterns)
If Patiala Gharana had a signature feature, it would probably be its breathtaking taans.
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Taans are rapid sequences of notes sung in one breath. Patiala singers perform them with
such speed and clarity that listeners often feel amazed.
But remember—speed alone is not the goal. The notes remain perfectly clear and in tune.
It is like watching a skilled athlete sprint gracefully without losing balance.
Types of Taans commonly used:
• Sapat Taan – Straight movement across notes
• Gamak Taan – Strong and oscillating notes
• Bol Taan – Using words of the composition
This dazzling taan work makes the style exciting and dynamic.
3. Strong Influence of Punjabi Folk Music
Since the gharana was born in Punjab, it naturally absorbed the flavor of Punjabi folk
traditions.
This influence brings:
• Warmth
• Emotional openness
• Rhythmic liveliness
As a result, Patiala music often feels more expressive and less restrained compared to some
other classical styles.
Even complex ragas sound approachable when sung in this manner.
You may feel like gently nodding your head along with the rhythm!
4. Balance Between Classical Discipline and Romantic Expression
Some musical styles focus heavily on technical perfection, while others prioritize emotional
expression. Patiala Gharana beautifully balances both.
The singers respect the grammar of the raga but never let it become dry or mechanical.
Instead, they add:
• Graceful ornamentation
• Emotional coloring
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• Expressive phrasing
This creates a romantic and lyrical atmosphere.
Imagine a skilled storyteller who follows the plot but still adds personal charm—that is the
Patiala approach.
5. Mastery Over Layakari (Rhythmic Play)
Another defining characteristic is layakari, or creative interaction with rhythm.
Patiala singers do not simply follow the beat—they play with it.
They may:
• Stretch a phrase
• Suddenly accelerate
• Land perfectly on the sam (first beat)
This requires tremendous control and training.
For listeners, it creates suspense and excitement, almost like a musical surprise.
6. Rich Ornamentation (Alankars)
Patiala singing is decorated with beautiful musical ornaments such as:
• Murki – Quick turns of notes
• Khatka – Sharp, clustered notes
• Meend – Smooth gliding between notes
These ornaments add sparkle to the performance, much like jewelry enhances an outfit.
However, the decoration never feels excessive—it supports the emotion of the raga.
7. Preference for Medium and Fast Tempos
Unlike some gharanas that focus extensively on very slow elaboration, Patiala singers are
especially comfortable in madhya (medium) and drut (fast) tempos.
This gives the music:
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• Energy
• Momentum
• Audience appeal
The performance builds excitement gradually and often ends with thrilling taans.
8. Excellence in Thumri and Light-Classical Forms
While many gharanas concentrate mainly on khyal, Patiala artists shine equally in semi-
classical genres like Thumri.
Their thumri singing is known for:
• Romantic expression
• Emotional subtlety
• Playful improvisation
It touches the listener’s heart instantly.
This versatility makes Patiala singers popular even beyond strict classical circles.
9. Clarity of Words (Bol-Baant and Bol-Taan)
Another beautiful feature is how clearly the lyrics are presented.
Even during fast passages, the words remain understandable.
This helps the listener connect emotionally with the composition rather than hearing only
abstract notes.
Music becomes both intellectual and emotional.
10. Legacy of Great Masters
The strength of any gharana lies in its musicians, and Patiala has produced legendary artists
who carried this tradition forward and made it famous worldwide.
Some renowned names include:
• Ustad Bade Ghulam Ali Khan
• Ustad Amanat Ali Khan
• Ustad Fateh Ali Khan
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• Parveen Sultana (strongly influenced)
Their performances demonstrate the elegance and power of this style.
Why is Patiala Gharana So Popular?
The popularity of this gharana comes from its ability to connect with both trained listeners
and beginners.
It offers:
Technical brilliance for scholars
Emotional beauty for general audiences
Exciting speed for thrill
Sweetness for relaxation
Few musical traditions manage to combine all these elements so successfully.
Conclusion
The Patiala Gharana stands as a shining jewel in the world of Hindustani classical music. Its
characteristics—sweet voice production, dazzling taans, rhythmic mastery, emotional
richness, and folk influence—create a style that is both sophisticated and deeply human.
Rather than sounding overly serious, this music smiles. It invites the listener in, tells a story,
and leaves a lasting impression.
4. How important is the role of Yoga for a musician.
Ans: 1. Physical Benefits of Yoga for Musicians
Musicians, like athletes, put their bodies through repetitive strain. Hours of practice can
lead to tension, stiffness, and even injuries. Yoga helps prevent and heal these issues.
• Posture Correction: Instruments like violin, sitar, or flute require asymmetrical
postures. Yoga balances the body and improves alignment.
• Flexibility: Stretching poses reduce stiffness in shoulders, back, and wrists.
• Strengthening Muscles: Core and arm strength from yoga supports long practice
sessions.
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• Injury Prevention: Conditions like carpal tunnel, tendonitis, and back pain are
common among musicians. Yoga reduces risk by improving circulation and mobility.
In simple words: Yoga keeps a musician’s body strong, flexible, and pain-free, so they
can play longer and better.
2. Breathing and Voice Control
For singers and wind instrument players, breath is everything. Yoga’s pranayama (breathing
exercises) directly enhances musical performance.
• Better Lung Capacity: Deep breathing increases oxygen intake, supporting sustained
notes.
• Control and Stability: Exercises like Anulom Vilom (alternate nostril breathing)
improve control over breath flow.
• Relaxation: Breathwork reduces anxiety before performances.
• Voice Quality: For vocalists, pranayama strengthens diaphragm support and
resonance.
In simple words: Yoga teaches musicians how to breathe better, which means singing or
playing with more power and control.
3. Mental and Emotional Benefits
Music is not just physical—it demands focus, creativity, and emotional balance. Yoga
nurtures the mind.
• Concentration: Meditation sharpens focus, helping musicians stay present during
long practice sessions.
• Stress Relief: Performances can be stressful. Yoga reduces anxiety and stage fright.
• Emotional Balance: Yoga helps musicians channel emotions into music without
being overwhelmed.
• Creativity: A calm mind is more open to inspiration. Yoga creates mental space for
new ideas.
In simple words: Yoga clears the mental clutter, allowing musicians to focus, relax, and
create with joy.
4. Spiritual Connection
Music and yoga both aim at connecting with something higher—whether it’s the divine, the
self, or pure consciousness.
• Inner Peace: Yoga helps musicians experience music as meditation.
• Devotion: In Indian classical traditions, music is seen as a spiritual offering. Yoga
deepens this sense of devotion.
• Flow State: Yoga helps musicians enter the “zone,” where music flows effortlessly.
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In simple words: Yoga makes music more than performance—it becomes a spiritual
journey.
5. Practical Yoga Practices for Musicians
• Asanas (Postures):
o Tadasana (Mountain Pose) for posture.
o Bhujangasana (Cobra Pose) for spine flexibility.
o Padmasana (Lotus Pose) for meditation.
• Pranayama (Breathing):
o Anulom Vilom for balance.
o Kapalabhati for energy.
o Bhramari (humming breath) for resonance.
• Meditation:
o Mindfulness meditation to reduce performance anxiety.
o Mantra meditation to connect with rhythm and sound.
6. Real-Life Impact
• Many professional musicians use yoga to recover from injuries caused by over-
practice.
• Yoga helps touring artists manage stress and fatigue.
• It is increasingly taught in music schools as part of holistic training.
5. Write 5 alaps and 5 taans in Taal Ektaal in Raag Jaunpuri.
Ans: What is Taal Ektaal?
Ektaal is a rhythmic cycle of 12 beats (matras). It is widely used in classical singing,
especially in slow and medium tempos.
Theka of Ektaal:
Dhin | Dhin | DhaGe | Tirakita | Tu | Na | Kat | Ta | DhaGe | Tirakita | Dhin | Na
When singing alaps and taans in Ektaal, the singer must land on the Sam (first beat)
correctly. This shows mastery over rhythm.
What is an Alap?
An alap is the slow and creative introduction of a raag. Think of it like introducing a
character in a story — you don’t rush. You explain every detail gently so the listener
understands the mood.
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In alap:
• Notes are stretched.
• There is emotional expression.
• Speed is slow to medium.
• Beauty matters more than complexity.
5 Alaps in Raag Jaunpuri (Ektaal)
Alap 1
Sa , ~ ,
This alap begins calmly from Sa and gradually climbs upward. The glide from Dha to Ni gives
a soft emotional touch, which is the identity of Jaunpuri.
Alap 2
, … ,
Here the ascent feels hopeful, while the descent brings seriousness. The slow return from Ni
→ Dha → Pa creates depth.
Alap 3
, , …
This alap highlights Dha, the vadi swar. Repeating Dha makes the raag stronger and more
recognizable.
Alap 4
, … ,
This one uses a curved movement rather than straight notes. Such curved phrases are
essential in classical music because they avoid making the raag sound mechanical.
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Alap 5
~ , ,
The stretched Dha (~) adds emotion. A good singer slightly oscillates this note to enhance
the feeling of longing.
What is a Taan?
If alap is like a calm river, taan is like a fast flowing stream.
A taan is a rapid sequence of notes sung in one breath with clarity and rhythm.
Features of a good taan:
• Fast but clear
• Perfectly in rhythm
• Should not break the rules of the raag
• Must end on Sam
5 Taans in Raag Jaunpuri (Ektaal)
Taan 1
,
This is a simple straight taan, perfect for beginners. It builds confidence and maintains the
raag structure.
Taan 2
,
Notice how the top note Sa quickly turns downward — this creates excitement without
losing control.
Taan 3
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, ,
This taan mixes upward and downward movements, making it sound more professional.
Taan 4
, , …
The repetition of note clusters gives power and speed.
Taan 5
, ,
This is slightly advanced. It demands breath control and vocal flexibility.
Important Tips for Students
✔ Do Not Rush
Many beginners think faster means better — but clarity is more important than speed.
✔ Focus on Komal Notes
Ga, Dha, and Ni should be sung softly. If they sound too sharp, the raag loses its identity.
✔ Practice Slowly First
Start in vilambit laya (slow tempo) before attempting fast taans.
✔ Always Feel the Emotion
Jaunpuri is not a playful raag — it is serious and expressive.
✔ Land on Sam
No matter how beautiful your taan is, if you miss the sam, it feels incomplete.
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Why Learning Alap and Taan is Important
Learning these patterns is not just for exams — it trains your musical mind.
When you practice alaps:
Your understanding of the raag improves.
Your voice becomes stable.
You develop emotional expression.
When you practice taans:
Your speed increases.
Breath control improves.
Confidence grows.
Over time, you won’t need to memorize — you will start creating your own musical phrases.
Imagine the Performance…
Picture yourself sitting on stage.
The tanpura is humming softly…
You begin with a slow alap — the audience becomes silent.
Then gradually, you introduce taans. The speed increases, the tabla joins in Ektaal, and
suddenly the entire performance feels alive.
That is the magic of Indian classical music.
Conclusion
Writing 5 alaps and 5 taans in Raag Jaunpuri set to Ektaal may look like a technical
question, but it is actually about understanding emotion, structure, and creativity together.
Remember this simple idea:
Alap = Emotion + Exploration
Taan = Skill + Speed
If you practice regularly and listen to great classical singers, these patterns will start feeling
natural rather than difficult.
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6. Write the complete detail of Taal Dhomaor and notaon of the taal in one avartan in
Chaugan.
Ans: 1. Introduction to Taal Dhamar
• Dhamar Tala is a 14-beat cycle (matras).
• It is widely used in Dhrupad singing, especially for festive compositions linked to Holi
and Krishna’s playful acts.
• The tala is played on pakhawaj (traditional drum) or tabla.
• Its beats are grouped asymmetrically into four vibhags (sections):
o 5 + 2 + 3 + 4 = 14
In simple words: Dhamar is a rhythmic cycle of 14 beats, divided into four uneven parts,
giving it a unique flavor compared to more symmetrical talas like Teentaal.
2. Structure of Dhamar Tala
• Matras (beats): 14
• Vibhags (sections): 4
• Claps (Tali): on 1st, 6th, and 11th matras.
• Wave (Khali): on the 8th matra.
So the cycle looks like this:
• 1 (Sam, clap) → start and resolution point.
• 6 (clap) → second emphasis.
• 8 (khali, wave) → empty beat.
• 11 (clap) → third emphasis.
3. Theka (Basic Pattern of Bols)
The traditional theka of Dhamar Tala is:
Ka Dhi Ta Dhi Ta | Dha - | Ta Ka Thun | Ta - Ka Dhi Ta Dhi Ta
Breaking it into 14 beats:
1. Ka
2. Dhi
3. Ta
4. Dhi
5. Ta
6. Dha
7.
o (rest)
8. Ta (Khali)
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9. Ka
10. Thun
11. Ta
12.
o (rest)
13. Ka
14. Dhi Ta Dhi Ta
This theka creates the rhythmic base for singers and instrumentalists to perform
compositions.
4. Laykari (Speed Variations)
In Indian rhythm, the same tala can be performed in different speeds:
• Ekgun (Thah): Base speed, one bol per beat.
• Dugun: Double speed, two bols per beat.
• Tigun: Triple speed, three bols per beat.
• Chaugun: Quadruple speed, four bols per beat.
In simple words: It’s like walking (Ekgun), jogging (Dugun), running (Tigun), and sprinting
(Chaugun) within the same rhythmic cycle.
5. Notation of Dhamar Tala in One Avartan (Chaugun)
Now let’s write the notation of Dhamar Tala in Chaugun (quadruple speed).
• Since Dhamar has 14 beats, in Chaugun we play 4 bols per beat, making it 56 bols in
one cycle.
• The theka expands like this:
Ka Ka Ka Ka | Dhi Dhi Dhi Dhi | Ta Ta Ta Ta | Dhi Dhi Dhi Dhi | Ta Ta Ta Ta |
Dha Dha Dha Dha | - - - - | Ta Ta Ta Ta | Ka Ka Ka Ka | Thun Thun Thun Thun |
Ta Ta Ta Ta | - - - - | Ka Ka Ka Ka | Dhi Ta Dhi Ta (expanded in 4s)
This dense rhythmic pattern showcases the mastery of the percussionist, filling the cycle
with quadruple-speed bols while maintaining the tala’s structure.
6. Importance of Chaugun in Dhamar
• Skill Demonstration: Playing in Chaugun requires precision and control.
• Energy: It adds intensity and excitement to the performance.
• Variation: Keeps the audience engaged by showing rhythmic creativity.
• Tradition: In Dhrupad and Dhamar Gayon, moving from Ekgun to Dugun to Chaugun
is a traditional way of exploring rhythm.
7. Summary Table
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Aspect
Detail
Beats (Matras)
14
Sections
(Vibhags)
4 (5 + 2 + 3 + 4)
Claps (Tali)
1, 6, 11
Wave (Khali)
8
Theka
Ka Dhi Ta Dhi Ta
Dha
-
Ta Ka
Thun
Ta - Ka Dhi Ta Dhi
Ta
Chaugun
56 bols per cycle, 4 bols per
beat
Wrapping It Up
• Taal Dhamar is a 14-beat cycle, central to Dhrupad and festive singing traditions.
• It is divided into four uneven sections, with claps on 1, 6, and 11, and a wave on 8.
• The theka provides the rhythmic foundation, and performers explore it through
laykari (speed variations).
• In Chaugun, the tala expands to 56 bols per cycle, showcasing rhythmic brilliance.
In simple words: Dhamar Tala is like a rhythmic festival—steady in Ekgun, lively in
Dugun, complex in Tigun, and dazzling in Chaugun.
7. Explain the contribuon of Guru Gobind Singh Ji in the eld of music.
Ans: When we hear the name Guru Gobind Singh, the tenth Sikh Guru, we usually think of
bravery, leadership, and sacrifice. He was a great warrior who founded the Khalsa in 1699
and inspired people to stand against injustice. But beyond his military strength and spiritual
wisdom, Guru Gobind Singh Ji was also deeply connected with music.
For him, music was not just entertainment—it was a path to spirituality, a way to inspire
courage, and a powerful tool to unite people. His contribution to music helped shape Sikh
devotional traditions and enriched Indian musical culture.
Let us understand his musical contribution in a simple and interesting way.
Music as a Path to Spiritual Connection
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In Sikh tradition, singing hymns—called Kirtan—is one of the most important forms of
prayer. This tradition began with Guru Nanak and continued through all the Sikh Gurus.
Guru Gobind Singh Ji strongly supported this practice because he believed that:
Music calms the mind.
It helps people focus on God.
It creates unity among listeners.
Imagine sitting in a peaceful place where divine hymns are being sung. Slowly, your
thoughts settle, stress disappears, and you feel spiritually uplifted. That is exactly the
experience Guru Gobind Singh Ji wanted people to have.
He encouraged devotional singing in gatherings so that spirituality could be felt—not just
understood intellectually.
A Great Poet Whose Words Became Music
Guru Gobind Singh Ji was not only a spiritual leader but also a brilliant poet and writer.
Many of his compositions are preserved in the Dasam Granth.
His writings were special because they were meant to be recited rhythmically or sung. This
naturally connected his poetry with music.
Some key features of his compositions include:
Strong rhythm that fits musical patterns
Powerful language that awakens bravery
Emotional depth that touches the heart
Spiritual messages wrapped in poetic beauty
Rather than writing plain philosophical texts, he created verses that could echo in
congregations, filling listeners with energy and devotion.
In this way, he expanded the musical heritage of Sikhism.
Dhadi Tradition – Music that Inspired Courage
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One of Guru Gobind Singh Ji’s most important musical contributions was promoting the
Dhadi tradition.
The Dhadi singers were like musical storytellers. Using instruments such as the Sarangi and
Dhad, they sang ballads about:
• Heroism
• Sacrifice
• Battles against injustice
• Moral strength
But why was this important?
At that time, society faced oppression and fear. Guru Gobind Singh Ji understood something
very powerful:
Words spoken may be forgotten.
But words sung with music stay in the heart.
Dhadi performances energized warriors before battles and motivated common people to
remain fearless.
You can think of it as the “motivational music” of that era!
Music that Built Courage, Not Just Devotion
Most spiritual music focuses on peace and meditation. Guru Gobind Singh Ji added another
dimension—music that created bravery.
His court welcomed poets, musicians, and artists who composed heroic songs. These were
not soft lullabies; they were vibrant, energetic, and full of passion.
This type of music helped:
Remove fear
Build confidence
Encourage sacrifice for righteousness
Strengthen community spirit
He showed that music is not only for relaxation—it can also ignite determination.
Patron of Musicians and the Arts
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Guru Gobind Singh Ji established a vibrant cultural center at Anandpur Sahib.
His court became a gathering place for talented individuals, including:
• Poets
• Singers
• Instrumentalists
• Scholars
By supporting artists, he ensured that music and literature continued to grow even during
difficult times.
This tells us something important about his personality:
He believed a strong society needs both warriors and artists.
Because of his encouragement, music flourished and became deeply woven into Sikh
religious life.
Lasting Influence on Sikh Music
Even today, his influence can be felt in gurdwaras across the world.
Whenever devotional hymns are sung with passion…
Whenever heroic ballads inspire listeners…
Whenever poetry and rhythm combine in Sikh worship…
—we are witnessing the legacy of Guru Gobind Singh Ji.
His vision transformed music into:
A spiritual practice
A source of courage
A tool for education
A force for unity
Few leaders in history understood the emotional power of music as deeply as he did.
Conclusion
Guru Gobind Singh Ji’s contribution to music was profound and multidimensional. He did
not treat music as mere art; he used it as a spiritual and social force.
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Guru Gobind Singh Ji perfectly blended spirituality, poetry, and music to guide people
toward both inner peace and outer strength.
His life teaches us an inspiring lesson:
Music is not just something we hear—it is something that can transform who we are.
8. Girija Devi is famous for which style of Gayaki. Write a brief of her life sketch.
Ans: Girija Devi – The Queen of Thumri
Pandit Girija Devi (1929–2017), fondly known as Appa Ji, was one of the most iconic figures
in Hindustani classical music. She is celebrated as the “Queen of Thumri”, a style of gayaki
(singing) that blends classical discipline with lyrical beauty and emotional depth. Her life and
work represent a bridge between tradition and modernity, ensuring that thumri remained a
respected and cherished form of Indian music.
1. Style of Gayaki – Thumri
• Girija Devi was most famous for her mastery of Thumri, a semi-classical style of
Hindustani music.
• Thumri emphasizes expression, emotion, and lyrical beauty, often revolving around
themes of love, devotion, and longing—especially stories of Radha and Krishna.
• Unlike khayal or dhrupad, thumri allows more freedom in interpretation,
ornamentation, and emotional nuance.
• Girija Devi elevated thumri from being seen as a lighter form to one of serious
artistic merit, performed on prestigious classical stages.
• She specialized in the Purab Ang Thumri tradition of the Banaras gharana, known for
its sweetness, lyrical depth, and emotive power.
In simple words: Girija Devi made thumri not just a song of love and longing, but a
respected art form that touched the soul.
2. Early Life
• Born on 8 May 1929 in Varanasi, into a zamindar family.
• Her father, Ramdeo Rai, was musically inclined and played the harmonium. He
encouraged her to learn music from a young age.
• At just five years old, she began training in khayal and tappa under Sarju Prasad
Mishra, a vocalist and sarangi player.
• Later, she trained under Srichand Mishra, continuing until his death in the 1960s.
• Despite social resistance (as women from respectable families were discouraged
from performing publicly), she pursued her passion with determination.
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3. Career and Contributions
• Her first public performance was in 1949 on All India Radio, Allahabad.
• She became a leading exponent of thumri, but also performed khayal, tappa, kajri,
chaiti, and bhajans.
• She was recognized as one of the last great masters of the Purab Ang gayaki of the
Banaras gharana.
• Through her performances, she gave thumri a new dignity, ensuring it was respected
alongside khayal and dhrupad.
• She trained many disciples, passing on her knowledge and style to future
generations.
4. Recognition and Awards
• Girija Devi received numerous honors for her contribution to Indian classical music:
o Padma Shri (1972)
o Padma Bhushan (1989)
o Padma Vibhushan (2016) – India’s second-highest civilian award.
o Sangeet Natak Akademi Award and other prestigious recognitions.
• She was celebrated not only in India but also internationally, performing at major
festivals and concerts.
5. Legacy
• Girija Devi passed away on 24 October 2017 in Kolkata at the age of 88.
• She left behind a rich legacy as the torchbearer of thumri, ensuring its survival and
respect in the classical music world.
• Her recordings remain timeless, teaching students and delighting listeners even
today.
• She is remembered as a cultural icon of Varanasi, embodying the spirit of the
Banaras gharana.
6. Life Sketch Summary
Aspect
Details
Birth
8 May 1929, Varanasi
Training
Sarju Prasad Mishra, Srichand Mishra
Style
Thumri (Purab Ang), Banaras gharana
First
Performance
1949, All India Radio, Allahabad
Famous Title
“Queen of Thumri”
Awards
Padma Shri, Padma Bhushan, Padma Vibhushan, Sangeet Natak
Akademi Award
Death
24 October 2017, Kolkata
Legacy
Elevated thumri, trained disciples, preserved Banaras gharana
tradition
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Wrapping It Up
Girija Devi’s contribution to Indian classical music lies in her ability to transform thumri into
a respected art form.
• She combined technical mastery with emotional depth.
• She preserved the Purab Ang gayaki of the Banaras gharana.
• She inspired generations of musicians and listeners with her soulful renditions.
In simple words: Girija Devi was not just a singer—she was the soul of thumri, turning it
into a timeless expression of love, devotion, and artistry.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
