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GNDU QUESTION PAPERS 2022
BA/BSc 6
th
SEMESTER
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
SECTION-A
1. Explain in detail about Dhrupad Gayki along with its four Vani.
2. How do you look upon the future of Indian Music on a Global level?
SECTION-B
3. Write the main features and popular Musicians of Gwalior Gharana in detail.
4. How important is the role of Music literature while we learn about Music in depth?
SECTION-C
5. Write about the introducon of Raag Bhageshwari and write four Alaps and four Taans
in Tritaal.
6. Write the Ekgun, Dugun and Chaugun of Taal Dhamar.
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SECTION-D
7. Write about the contribuon of Girija Devi in the eld of Indian Classical Music.
8. Write the notaon of any Chhota Khyaal in your prescribed syllabus along with
introducon of the Raag.
GNDU ANSWER PAPERS 2022
BA/BSc 6
th
SEMESTER
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
SECTION-A
1. Explain in detail about Dhrupad Gayki along with its four Vani.
Ans: What is Dhrupad Gayaki?
The word “Dhrupad” comes from two words — Dhruva meaning fixed or constant, and
Pada meaning word or composition. Together, Dhrupad refers to a structured and serious
form of singing where the composition remains steady and follows strict musical rules.
Dhrupad is believed to have developed around the 15th and 16th centuries, though its
roots go back even further to temple music and Vedic chanting. Originally, it was sung in
temples as a form of devotion to God. Later, it became popular in royal courts, especially
during the reign of kings like Raja Man Singh Tomar of Gwalior, who greatly supported this
musical tradition.
Unlike lighter forms of music, Dhrupad focuses more on spiritual depth than
entertainment. The singer does not try to impress with fast or complicated ornamentation;
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instead, the aim is to create a peaceful atmosphere and connect the listener with something
higher.
Main Features of Dhrupad Gayaki
To understand Dhrupad better, imagine a calm river flowing steadily rather than a waterfall
rushing loudly. Its beauty lies in its stability and depth.
Some important characteristics are:
1. Alap – The Slow Beginning
Every Dhrupad performance begins with a long, unmetered introduction called Alap. There
is no tabla or rhythm at this stage. The singer slowly explores the raga note by note,
allowing the listener to absorb its mood.
The Alap usually progresses in three stages:
• Vilambit (slow) – Notes are stretched and expanded.
• Madhya (medium) – The pace increases slightly.
• Drut (fast) – The movement becomes more dynamic.
This gradual growth feels like watching the sunrise — slow, majestic, and mesmerizing.
2. Use of “Nom-Tom” Syllables
During the Alap, singers often use syllables like “Nom,” “Tom,” “Na,” “Re,” “Ta,” instead of
actual lyrics. This is called Nom-Tom Alap. These sounds help maintain the meditative
quality of the music.
3. Strong Voice and Clear Pronunciation
Dhrupad requires a powerful and controlled voice. Singers avoid excessive decoration and
instead focus on clarity and precision. Each note must be perfectly placed.
4. Fixed Composition
After the Alap, the singer performs the composed piece accompanied by the pakhawaj (a
traditional drum). The composition usually has four parts:
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• Sthayi – The opening section.
• Antara – Moves toward higher notes.
• Sanchari – Expands the melodic idea.
• Abhog – Concludes the composition.
5. Spiritual and Serious Mood
Most Dhrupad compositions praise gods, describe nature, or honor kings. The style is
introspective and dignified rather than dramatic.
The Four Vani of Dhrupad
In earlier times, Dhrupad singing developed into four major styles called Vani. The word
Vani means “speech” or “expression.” Each Vani had its own personality, much like different
accents in language.
Let us explore them one by one.
1. Gaudhar Vani
Gaudhar Vani is considered the oldest and most balanced style of Dhrupad.
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Key Features:
• Simple and graceful presentation
• Equal importance to melody and rhythm
• Avoids unnecessary complexity
• Emphasizes purity of raga
You can think of Gaudhar Vani as a wise teacher — calm, clear, and deeply knowledgeable.
It does not try to overwhelm the listener but instead gently draws them into the music.
Because of its balanced nature, many musicians regard it as the foundation from which
other Vanis evolved.
2. Khandar Vani
Khandar Vani is powerful and energetic — almost the opposite of the calm Gaudhar style.
Key Features:
• Fast and forceful delivery
• Complex rhythmic patterns
• Bold voice projection
• Dramatic movement between notes
Listening to Khandar Vani feels like witnessing a heroic warrior in action. It demands great
breath control and stamina from the singer.
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This style was often appreciated in royal courts where audiences enjoyed grandeur and
strength.
3. Nauhar Vani
Nauhar Vani brings softness and emotional beauty into Dhrupad.
Key Features:
• Smooth and flowing melodies
• Gentle ornamentation
• Emotional expression
• Graceful transitions between notes
If Gaudhar is wisdom and Khandar is strength, then Nauhar is poetry. It touches the heart
easily and creates a soothing musical experience.
This style shows that Dhrupad is not only about discipline but also about feeling.
4. Dagar Vani
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Dagar Vani is perhaps the most well-known today, preserved by the famous Dagar family
over many generations.
Key Features:
• Extremely slow and detailed Alap
• Deep meditation-like atmosphere
• Focus on microtones (shruti)
• Rich voice modulation
Listening to Dagar Vani is like sitting quietly near the ocean — vast, deep, and endless. It
encourages both singer and listener to enter a state of contemplation.
Many modern Dhrupad performances are influenced by this style.
Importance of Dhrupad in Indian Music
Dhrupad is not just a musical style; it is a cultural treasure. It teaches patience in a world
that often moves too fast. It reminds us that music is not only for entertainment but also for
inner growth.
Even the later forms of Hindustani music, such as Khyal, were influenced by Dhrupad.
Without Dhrupad, the structure and discipline of Indian classical music might not have
developed in the same way.
Today, though it is less common than lighter styles, Dhrupad is experiencing a revival. Music
lovers across the world are rediscovering its calming and spiritual power.
Conclusion
Dhrupad Gayaki stands as a symbol of tradition, discipline, and spiritual depth in Indian
classical music. Its slow unfolding, powerful voice culture, and structured compositions
make it unique.
The four Vanis — Gaudhar, Khandar, Nauhar, and Dagar — show how one musical form can
express different shades of human emotion: balance, strength, beauty, and meditation.
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2. How do you look upon the future of Indian Music on a Global level?
Ans: The Rich Heritage of Indian Music
Indian music is built on two great classical traditions:
• Hindustani (North Indian) classical music, with ragas and talas that emphasize
improvisation and emotional depth.
• Carnatic (South Indian) classical music, with intricate compositions and rhythmic
complexity.
Alongside these, India has vibrant folk traditions, devotional music (bhajans, kirtan,
qawwali), and the ever-evolving world of Bollywood and indie pop. This diversity forms the
foundation for its global appeal.
Current Global Presence
Indian music has already made its mark worldwide:
• Classical maestros like Ravi Shankar, Zakir Hussain, and L. Subramaniam introduced
ragas and talas to international audiences.
• Bollywood music has become a global phenomenon, especially in South Asia, the
Middle East, and diaspora communities.
• Fusion and collaborations with Western genres (jazz, rock, electronic) have created
new sounds that appeal to younger audiences.
• Streaming platforms like Spotify and YouTube have made Indian music accessible to
anyone, anywhere.
The Future: Key Directions
1. Global Fusion and Collaborations
• Indian classical instruments like sitar, tabla, and mridangam will continue to blend
with Western genres.
• Collaborations between Indian and international artists will create hybrid styles,
appealing to global youth.
• Example: A raga fused with electronic beats could become the next global trend.
2. Digital Platforms and Accessibility
• With streaming services, Indian music is no longer confined to India—it is instantly
global.
• Independent musicians can release songs without big labels, reaching audiences
worldwide.
• Online tutorials and masterclasses will spread knowledge of ragas and talas to
learners across continents.
3. Revival of Folk and Regional Music
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• Folk traditions like bhangra, Baul songs, and Rajasthani folk are gaining international
recognition.
• These styles may be adapted into world music festivals, showcasing India’s cultural
diversity.
4. Cinema and Global Storytelling
• Bollywood and regional cinema will continue to carry Indian music abroad.
• With streaming platforms like Netflix and Amazon Prime, Indian film music is
reaching new audiences globally.
• Songs from films often become cultural ambassadors.
5. Spiritual and Healing Music
• Indian devotional music (bhajans, kirtan, mantras) is increasingly popular in yoga and
meditation communities worldwide.
• The future may see Indian ragas used more in therapy, wellness, and mindfulness
practices.
6. Youth and Innovation
• Young Indian musicians are experimenting with rap, hip-hop, EDM, and indie pop
while retaining Indian elements.
• This innovation ensures that Indian music stays relevant globally.
Challenges Ahead
• Commercialization: Global exposure may push Indian music towards profit-driven
trends, risking depth and authenticity.
• Cultural Dilution: Fusion must balance innovation with respect for tradition.
• Representation: Regional styles must not be overshadowed by Bollywood
dominance.
Making It Relatable
Think of Indian music as a tree with deep roots and wide branches. The roots are classical
traditions, firmly grounded in centuries of culture. The branches are Bollywood, fusion, folk,
and indie music, spreading across the world. As the tree grows, it offers shade and fruit to
global audiences—comfort, joy, and inspiration.
Conclusion
The future of Indian music on a global level looks bright and expansive:
• It will thrive through fusion and collaborations.
• It will spread via digital platforms and cinema.
• It will inspire through spiritual and healing traditions.
• It will remain dynamic through youth innovation.
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SECTION-B
3. Write the main features and popular Musicians of Gwalior Gharana in detail.
Ans: What is the Gwalior Gharana?
The Gwalior Gharana takes its name from the historic city of Gwalior in Madhya Pradesh.
This city has long been a cultural center for music and art. Even the legendary musician
Tansen, one of the greatest singers in Indian history and a jewel in Emperor Akbar’s court, is
closely associated with this region.
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The Gwalior Gharana is mainly known for perfecting the Khayal style of singing. Khayal
means “imagination”, and it allows singers to creatively express a raga while still respecting
its rules.
Think of Gwalior as a strong foundation. Just like a student first learns clear handwriting
before developing their own style, singers trained in this gharana learn clarity, discipline,
and structure before experimenting.
Main Features of the Gwalior Gharana
Let us explore the characteristics that make this gharana unique.
1. Simplicity and Clarity
The biggest strength of the Gwalior style is its simplicity. The presentation is
straightforward, without unnecessary complexity. Every note is sung clearly so that even a
beginner can follow the melody.
Instead of confusing the listener with excessive ornamentation, the singer focuses on purity
of sound.
Imagine a teacher explaining a difficult concept in very easy language — that is exactly
how Gwalior music feels.
2. Importance of Bandish (Composition)
In this tradition, the bandish is the heart of the performance. A bandish is a fixed musical
composition set to a raga and rhythm.
Gwalior singers carefully choose compositions that clearly highlight the raga’s mood and
structure. Rather than stretching the raga endlessly, they let the composition guide the
performance.
This makes the music balanced and satisfying.
3. Medium Tempo Preference
Unlike some gharanas that begin very slowly, Gwalior singers often prefer a medium tempo
(Madhya Laya).
Why is this important?
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Because medium tempo creates the perfect balance:
• Not too slow to become heavy
• Not too fast to lose detail
It allows the singer to display both emotion and technical skill.
4. Structured Raga Development
Gwalior performances usually follow a well-organized pattern:
• Start with the bandish
• Expand the raga step by step
• Introduce taans (fast note patterns)
• Conclude with energetic passages
There is very little randomness. Everything feels planned yet natural.
This structured approach makes it ideal for students learning classical music.
5. Use of Taans
Taans are rapid sequences of notes that show a singer’s mastery.
Gwalior taans are:
• Clear
• Straight
• Rhythmically accurate
Instead of overly complicated patterns, the focus remains on musical beauty.
Listening to these taans feels like watching a skilled athlete run smoothly — fast but
controlled.
6. Emotional Balance
Some musical styles focus heavily on deep emotion, while others emphasize technical
brilliance.
Gwalior achieves a beautiful middle path.
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It combines:
✔ Melody
✔ Rhythm
✔ Expression
✔ Technique
Nothing is exaggerated.
This is why many people consider it the most “complete” gharana.
Popular Musicians of the Gwalior Gharana
Now let us meet some of the great masters who carried this tradition forward.
Pandit Vishnu Digambar Paluskar
Vishnu Digambar Paluskar was not just a musician — he was a revolutionary.
At a time when classical music was mostly limited to royal courts, Paluskar believed that
music should belong to everyone.
So what did he do?
He founded the famous Gandharva Mahavidyalaya, one of India’s first public music schools.
Because of him:
• Music education became systematic
• Ordinary people could learn classical music
• Respect for musicians increased
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In many ways, he democratized Indian classical music.
Pandit Vishnu Narayan Bhatkhande
Another towering personality was Vishnu Narayan Bhatkhande.
If Paluskar spread music, Bhatkhande organized it.
Before his work, classical music was taught mostly through oral tradition. There were very
few written records.
Bhatkhande:
• Traveled across India
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• Studied different gharanas
• Wrote books
• Created a music notation system
Even today, music students rely on his classification of ragas.
You could call him the “architect” of modern Hindustani music education.
Pandit D. V. Paluskar
Dattatreya Vishnu Paluskar, lovingly known as D. V. Paluskar, was the son of Vishnu
Digambar Paluskar.
Despite living only a short life, he left a huge musical legacy.
His singing was known for:
• Sweetness
• Emotional depth
• Crystal-clear notes
Listeners often felt a spiritual calm while hearing him.
He proved that technical perfection and heartfelt expression can go hand in hand.
Pandit Krishnarao Shankar Pandit
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Krishnarao Shankar Pandit was one of the finest representatives of the pure Gwalior style.
He was admired for:
• Powerful voice
• Perfect rhythm
• Deep knowledge of ragas
More importantly, he trained many students, ensuring that the tradition continued.
A true guru does not just perform — he builds the future. Pandit Krishnarao did exactly that.
Why is the Gwalior Gharana So Important?
The influence of this gharana is enormous.
Many later traditions — such as Agra Gharana and Kirana Gharana — were shaped by its
principles.
Music experts often recommend that beginners start with the Gwalior style because it
teaches:
• Discipline
• Correct pronunciation of notes
• Strong rhythmic sense
• Respect for tradition
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It is like learning the grammar of a language before writing poetry.
Conclusion
The Gwalior Gharana is not just a musical style — it is a timeless tradition that laid the
foundation for Hindustani classical music as we know it today.
Its beauty lies in its balance:
✔ Simple yet profound
✔ Structured yet expressive
✔ Traditional yet adaptable
Great masters like Vishnu Digambar Paluskar, Vishnu Narayan Bhatkhande, D. V. Paluskar,
and Krishnarao Shankar Pandit ensured that this musical heritage did not fade with time.
Even today, when a classical singer performs with clarity, discipline, and elegance, you can
often sense the quiet influence of Gwalior.
4. How important is the role of Music literature while we learn about Music in depth?
Ans: What is Music Literature?
Music literature refers to all written material about music:
• Ancient treatises (like Natya Shastra or Sangeet Ratnakar).
• Modern textbooks on theory, notation, and history.
• Biographies of musicians and composers.
• Research papers, articles, and critical essays.
• Collections of lyrics, compositions, and notations.
In simple words, music literature is the library of knowledge that supports the art of music.
Why Is Music Literature Important?
1. Preservation of Tradition
Without written records, many ragas, talas, and compositions would have been lost.
Literature preserves the heritage of music across centuries. For example, the Natya Shastra
by Bharata is over 2,000 years old, yet it still guides musicians today.
2. Systematic Learning
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Music literature provides structure. It explains scales, ragas, talas, and notation systems.
This helps students move from basic practice to advanced understanding.
3. Bridge Between Practice and Theory
While practice gives experience, literature gives clarity. Reading about how a raga is
constructed or how rhythm cycles work deepens the performer’s insight.
4. Cultural Context
Music literature connects music to history, philosophy, and culture. It explains why certain
ragas are sung at specific times or why devotional music carries certain moods.
5. Inspiration and Guidance
Biographies and writings of great musicians inspire learners. Reading about Tansen,
Tyagaraja, or Ravi Shankar shows how dedication and creativity shape mastery.
Salient Roles of Music Literature in Learning
1. Understanding Ragas and Talas
• Literature explains the grammar of ragas: their notes, ascending and descending
patterns, moods, and rules.
• It also details talas (rhythmic cycles), helping learners grasp complex layakari (tempo
variations).
2. Notation and Documentation
• Written notation allows compositions to be preserved and shared.
• This is especially important in classical music, where oral tradition alone might not
suffice.
3. Comparative Study
• Literature allows us to compare Hindustani and Carnatic systems, or Indian and
Western music.
• This broadens perspective and encourages innovation.
4. Research and Innovation
• Scholars use literature to analyze trends, discover forgotten ragas, or propose new
interpretations.
• Musicians innovate by studying past works and blending them with modern ideas.
5. Accessibility for Learners
• Beginners can start with simple guides, while advanced learners dive into treatises.
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• Literature makes music education accessible to all, not just those with a guru.
Relevance in Modern Times
1. Digital Resources
Today, music literature is not limited to books—it includes online articles, e-books, and
digital archives. Learners can access centuries of wisdom instantly.
2. Globalization
As Indian music reaches global audiences, literature helps explain its depth to those
unfamiliar with ragas and talas. It acts as a translator of culture.
3. Academic Recognition
Music literature supports music as a serious academic discipline. Universities worldwide
offer courses in ethnomusicology, largely based on written research.
4. Preservation of Diversity
India’s folk traditions are vast. Literature documents them, ensuring they are not
overshadowed by classical or film music.
Making It Relatable
Think of learning music without literature like trying to cook without a recipe. You may learn
by watching others, but written recipes give clarity, variations, and history. Similarly, music
literature is the recipe book of sound—it tells us how ragas are structured, why rhythms
matter, and how masters created timeless art.
Conclusion
The role and relevance of music literature in learning music in depth can be summarized as:
• Preservation of traditions and compositions.
• Systematic learning through theory and notation.
• Cultural context that enriches understanding.
• Inspiration from biographies and treatises.
• Modern relevance through digital access and global recognition.
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SECTION-C
5. Write about the introducon of Raag Bhageshwari and write four Alaps and four Taans
in Tritaal.
Ans: Introduction to Raag Bhageshwari
Indian classical music is like a vast ocean of emotions, where every raag tells its own story.
Some raags express devotion, some create excitement, while others bring peace and deep
emotional reflection. Raag Bhageshwari (often spelled Bageshree) is one such beautiful raag
that touches the heart with its gentle, romantic, and slightly melancholic mood. It is known
for expressing love, longing, and emotional depth, making it a favorite among classical
singers and instrumentalists.
Raag Bhageshwari – The Mood of Midnight
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Raag Bhageshwari belongs to the Kafi Thaat in Hindustani classical music. Traditionally, it is
performed during the late-night hours, usually after 9 PM. Why late night? Because this is
the time when the world becomes quiet, distractions fade away, and emotions feel
stronger. Bhageshwari perfectly matches this calm atmosphere.
When you listen to this raag, you may feel a sense of yearning, as if someone is waiting for a
loved one or remembering a special moment. Yet, it is not overly sad—it carries a sweetness
that comforts the listener.
Basic Structure of Raag Bhageshwari
To understand any raag, we must first learn its musical framework.
• Thaat: Kafi
• Jaati: Audav–Sampurna (5 notes in ascent, 7 in descent)
• Aroh (Ascending): Sa Ga Ma Dha Ni Sa
• Avroh (Descending): Sa Ni Dha Ma Ga Re Sa
• Vadi (Most important note): Ma
• Samvadi (Second most important): Sa
• Varjit Swara: Re and Pa are usually omitted in ascent.
• Komal (Flat) Notes: Ga and Ni
• Time of Performance: Late night (third prahar)
The beauty of Bhageshwari lies in how smoothly the notes flow. Instead of sharp jumps, the
movement is graceful and curved, creating a soothing effect.
What is Tritaal?
Before moving to Alaps and Taans, let us quickly understand Tritaal, one of the most
commonly used rhythmic cycles in Indian classical music.
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Tritaal has 16 beats (matras) divided into four equal sections of 4 beats each.
Theka (basic bols):
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
The first beat is called Sam, where most musical phrases resolve. A skilled musician always
returns to Sam beautifully, giving listeners a feeling of completion.
Understanding Alap
An Alap is the slow, expressive exploration of a raag. Imagine a painter gently sketching the
outline before filling in colors—that is what Alap does for music. It introduces the
personality of the raag without rushing.
Below are four simple Alaps in Raag Bhageshwari. These are written in basic notation so
students can easily practice them.
Four Alaps in Raag Bhageshwari
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Alap 1:
Sa… Ga Ma… | Dha Ma Ga… | Sa
(Focus on Ma to establish the raag’s mood.)
Alap 2:
Ma Dha Ni… Dha | Ma Ga… | Re Sa
(Notice the smooth descent.)
Alap 3:
Sa Ga Ma Dha… | Ni Dha Ma… | Ga Re Sa
(Creates emotional depth.)
Alap 4:
Ni Sa… Dha Ni | Ma Dha Ga… | Re Sa
(A graceful late-night expression.)
While singing, stretch the notes gently. Do not hurry—Bhageshwari demands patience
and emotional involvement.
Understanding Taan
If Alap is like a calm introduction, Taan is the moment when the musician showcases agility
and confidence. Taans are fast melodic patterns that demonstrate control over notes.
However, even in speed, the identity of the raag must remain clear.
Four Taans in Tritaal
Taan 1:
Sa Ga Ma Dha Ni Sa | Ni Dha Ma Ga Re Sa
Taan 2:
Ga Ma Dha Ni Dha Ma | Ga Re Sa Ni Dha Sa
Taan 3:
Sa Ga Ma Dha | Ma Dha Ni Sa | Ni Dha Ma Ga | Re Sa
Taan 4:
Ni Sa Ga Ma Dha | Ni Dha Ma Ga | Re Sa Ni Dha | Ma Ga Re Sa
Start practicing slowly, then gradually increase speed while maintaining clarity.
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How Does Bhageshwari Feel When Performed?
When performed well, Raag Bhageshwari can make the entire room fall silent. Listeners
often close their eyes—not out of tiredness, but to fully absorb the sound.
The sustained Ma, the delicate use of Komal Ga, and the emotional glide between notes
create a magical atmosphere. It feels personal, almost as if the musician is telling their own
story.
Tips for Students Learning Bhageshwari
✔ Practice slowly first – Speed comes later.
✔ Focus on Ma – It is the emotional center of the raag.
✔ Avoid unnecessary Pa – Its absence gives Bhageshwari its identity.
✔ Listen to classical recordings – Your ear is your greatest teacher.
✔ Sing with feeling – Technique alone is not enough.
Conclusion
Raag Bhageshwari is not just a sequence of notes—it is an emotional journey. Its late-night
character, soft movements, and romantic mood make it one of the most touching raags in
Hindustani classical music.
By understanding its structure, practicing the Alaps, and mastering the Taans in Tritaal, a
student begins to unlock the soul of this raag. Remember, classical music is not about
perfection overnight. It is about patience, dedication, and emotional connection.
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6. Write the Ekgun, Dugun and Chaugun of Taal Dhamar.
Ans: Understanding Tāl Dhamār
• Dhamār Tāla is a rhythmic cycle of 14 beats (mātrās).
• It is divided into 4 vibhāgas (sections):
o 5 + 2 + 3 + 4 = 14.
• The tāla is traditionally associated with Dhamār compositions, sung in the dhrupad
style, especially during the festival of Holi.
• The basic thekā (pattern played on pakhāwaj or tabla) is:
Ka Dhi Ta | Dhi Ta | Dha - | Ge Ti Te |
This is the foundation upon which variations like Ekgun, Dugun, and Chaugun are built.
What Are Ekgun, Dugun, and Chaugun?
These terms describe layakari (tempo variations) in tāla practice:
1. Ekgun (Single Speed)
o One note or bol per beat.
o The natural tempo of the tāla.
o In Dhamār (14 beats), you would have 14 bols in one cycle.
2. Dugun (Double Speed)
o Two notes or bols per beat.
o In Dhamār, this means 28 bols in one cycle.
o Creates liveliness and energy.
3. Chaugun (Quadruple Speed)
o Four notes or bols per beat.
o In Dhamār, this means 56 bols in one cycle.
o Very dense and complex, requiring mastery and precision.
Ekgun of Dhamār
In Ekgun, you recite the thekā in its natural form:
Ka Dhi Ta Dhi Ta | Dha - Ge Ti Te |
Each bol matches one beat. The rhythm feels steady, dignified, and meditative.
Dugun of Dhamār
In Dugun, you double the bols. For example:
Ka Dhi Ta Dhi Ta Dhi Ta Dhi Ta | Dha Dha Ge Ge Ti Ti Te Te |
Here, every beat carries two syllables. The rhythm feels faster, playful, and dynamic.
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Chaugun of Dhamār
In Chaugun, you quadruple the bols. For example:
Ka Ka Dhi Dhi Ta Ta Dhi Dhi Ta Ta Dhi Dhi Ta Ta Dhi Dhi | Dha Dha Dha Dha Ge Ge Ge Ge Ti Ti
Ti Ti Te Te Te Te |
Now, every beat carries four syllables. The rhythm becomes very dense, almost like a rapid-
fire recitation. It requires great skill to maintain clarity and alignment with the tāla cycle.
Why These Variations Matter
• Training: Practicing Ekgun, Dugun, and Chaugun develops control over rhythm and
tempo.
• Performance: Musicians use these variations to add drama and excitement to
concerts.
• Expression: Each speed conveys a different mood—Ekgun is calm, Dugun is lively,
Chaugun is intense.
Making It Relatable
Think of Ekgun, Dugun, and Chaugun like walking, jogging, and sprinting:
• Ekgun is walking steadily—calm and balanced.
• Dugun is jogging—energetic but controlled.
• Chaugun is sprinting—fast, powerful, and demanding precision.
Just as a runner must maintain rhythm at different speeds, a musician must keep the tāla
intact while shifting between these layakaris.
Conclusion
• Ekgun: One bol per beat (basic tempo).
• Dugun: Two bols per beat (double speed).
• Chaugun: Four bols per beat (quadruple speed).
• In Dhamār Tāla (14 beats), these correspond to 14, 28, and 56 bols per cycle.
SECTION-D
7. Write about the contribuon of Girija Devi in the eld of Indian Classical Music.
Ans: When we talk about Indian Classical Music, many great artists come to mind—artists
who dedicated their entire lives to preserving and enriching India’s musical heritage. Among
these legendary figures, Girija Devi holds a very special place. She was not just a singer; she
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was a cultural treasure who helped keep some of India’s most delicate and expressive
musical traditions alive. Because of her unmatched mastery in semi-classical styles, she
became widely known as the “Queen of Thumri.”
Let us explore her life and contributions in a simple, story-like way so that anyone—even a
beginner—can understand why she is considered one of the greatest musicians in Indian
history.
Early Life and Musical Roots
Girija Devi was born on May 8, 1929, in Varanasi, one of the oldest cultural and spiritual
centers of India. Varanasi has always been famous for its deep connection with art,
devotion, and music. Growing up in such an environment naturally influenced her artistic
journey.
Her father, Ramdeo Rai, was deeply interested in music and recognized his daughter’s talent
at an early age. At a time when many families did not encourage girls to pursue music
professionally, he made sure she received proper training. She began learning music when
she was just five years old.
She trained under respected teachers like Sarju Prasad Mishra and later Shri Chand Mishra.
Under their guidance, she learned the fundamentals of classical ragas as well as the
emotional depth required to perform them beautifully.
Mastery of the Banaras Gharana
Girija Devi belonged to the famous Banaras Gharana, a musical tradition known for its
expressive and emotional singing style. Unlike purely technical performances, the Banaras
style focuses on bhava (feeling) and ras (emotional flavor), allowing the singer to connect
directly with the listener’s heart.
Her singing had three important qualities:
• Clarity: Every word she sang could be understood easily.
• Emotion: She didn’t just sing notes—she told stories through music.
• Grace: Her performances felt effortless yet deeply powerful.
Because of this, audiences often felt mesmerized when she performed.
Contribution to Thumri and Semi-Classical Music
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To understand Girija Devi’s greatest contribution, we must first understand Thumri.
Thumri is a semi-classical style of Indian music that focuses more on emotional expression
than strict rules. It often explores themes of love, devotion, longing, and separation. In the
early 20th century, this style was sometimes looked down upon and was at risk of losing
popularity.
This is where Girija Devi made history.
She elevated Thumri from smaller gatherings to prestigious concert stages. Through her
performances, people began to see that semi-classical music required just as much skill as
classical forms.
But her talent was not limited to Thumri alone. She was equally brilliant in forms such as:
• Tappa – known for its fast and complex patterns.
• Kajri – songs associated with the rainy season.
• Chaiti – traditional folk-style songs sung during spring.
• Bhajan – devotional compositions.
By performing these styles on respected platforms, she helped preserve many musical
traditions that might otherwise have faded away.
Breaking Social Barriers
Today, it may seem normal for women to perform on stage, but decades ago, it was not so
easy. After her marriage, Girija Devi faced social restrictions because many conservative
families believed that women from respectable households should not perform publicly.
For some time, she limited her performances to private gatherings. However, her passion
for music was stronger than any barrier. In 1949, she finally performed on All India Radio,
marking the beginning of her public musical career.
This moment was more than just a performance—it was a quiet revolution. She proved that
talent deserves to be heard, regardless of social expectations.
Her courage inspired many young women to step into the world of classical music without
fear.
A Teacher Who Shaped Future Generations
Another major contribution of Girija Devi was her role as a teacher.
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She believed that music should not remain limited to one generation. To ensure that these
traditions continued, she taught students at institutions like the ITC Sangeet Research
Academy in Kolkata.
Her teaching style focused on more than technique. She encouraged students to:
• Understand the meaning behind lyrics
• Feel the emotion of every note
• Respect the tradition while developing their own identity
Many of her students later became successful performers, spreading her influence even
further.
Awards and Recognition
Girija Devi’s immense contribution did not go unnoticed. She received several prestigious
honors from the Government of India, including:
• Padma Shri
• Padma Bhushan
• Padma Vibhushan
These awards are among the highest civilian honors in India and reflect the nation’s
gratitude for her service to music.
Yet, despite all the recognition, she remained humble and always said that music itself was
her greatest reward.
Why Girija Devi Still Matters Today
Girija Devi passed away in 2017, but her voice continues to inspire musicians and music
lovers around the world.
Her legacy teaches us several important lessons:
Preserve tradition: She protected musical forms that were slowly disappearing.
Have courage: She challenged social norms and followed her passion.
Stay dedicated: Her lifelong practice shows that greatness comes from discipline.
Share knowledge: By teaching others, she ensured that Indian classical music would
continue to flourish.
Most importantly, she showed that music is not just about sound—it is about emotion,
culture, and human connection.
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Conclusion
The contribution of Girija Devi to Indian Classical Music is truly priceless. She did more than
perform—she revived traditions, inspired women, trained future artists, and brought
emotional richness to the concert stage.
Because of her efforts, styles like Thumri gained respect and popularity across the country.
Her voice carried the soul of Indian culture, and her influence continues to guide musicians
even today.
8. Write the notaon of any Chhota Khyaal in your prescribed syllabus along with
introducon of the Raag.
Ans: What is a Chhota Khyaal?
• Khyaal is one of the most popular forms of Hindustani classical vocal music.
• It is divided into Bada Khyaal (slow tempo, vilambit) and Chhota Khyaal (fast tempo,
drut).
• A Chhota Khyaal is usually sung after the Bada Khyaal in a performance. It is lively,
energetic, and showcases the singer’s command over rhythm and improvisation.
• It is set in a particular rāga and tāla, with a fixed bandish (composition).
Introduction to Rāga Yaman (Example Rāga)
Let’s take Rāga Yaman as an example, since it is often prescribed in syllabi for beginners and
intermediate learners.
Structure of Rāga Yaman:
• Aaroh (Ascending scale): Ni Re Ga Ma(tivra) Pa Dha Ni Sa
• Avaroh (Descending scale): Sa Ni Dha Pa Ma(tivra) Ga Re Sa
• Vadi (Main note): Ga
• Samvadi (Second important note): Ni
• Time of performance: Evening (6–9 pm)
• Mood (Rasa): Peaceful, devotional, romantic.
Rāga Yaman is considered one of the most graceful and foundational ragas in Hindustani
music.
Notation of a Chhota Khyaal in Rāga Yaman (Drut Teentaal)
Bandish (Composition): “Eri Aali Piya Bin”
Tāla: Teentaal (16 beats: 4+4+4+4)
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Sthāyi (First part):
S | N R G M | P D N S | - - - - |
Eri aali piya bin, mori naina sukh na paaye
Antara (Second part):
N | D P M G | R S N D | P M G R S |
Kaise jaaun sajani, mori naina sukh na paaye
(Here, the swaras are aligned with the lyrics. Each beat of Teentaal carries a note or syllable.
The notation may vary slightly depending on gharana or style.)
How to Sing This Chhota Khyaal
1. Start with the sthāyi in drut laya (fast tempo).
2. Emphasize the vadi (Ga) and samvadi (Ni) to bring out the essence of Yaman.
3. Use taans (fast melodic runs) and sargam passages to showcase improvisation.
4. Conclude with the antara, returning gracefully to the sthāyi.
Importance of Notation
• Clarity: Notation helps students remember the exact swaras and lyrics.
• Structure: It shows how the composition fits into the tāla cycle.
• Practice: Learners can rehearse systematically, aligning voice with rhythm.
• Preservation: Notation ensures that compositions are passed down accurately
across generations.
Making It Relatable
Think of a Chhota Khyaal like a short poem set to music. The rāga provides the mood, the
tāla provides the rhythm, and the notation is like the script. Just as an actor uses a script to
perform a play, a singer uses notation to bring the composition alive.
Conclusion
• A Chhota Khyaal is a fast-tempo composition in Hindustani classical music.
• In Rāga Yaman, the bandish “Eri Aali Piya Bin” is a common example.
• The notation shows how swaras align with lyrics in Teentaal.
• Learning through notation deepens understanding, preserves tradition, and
enhances performance.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
