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GNDU QUESTION PAPERS 2023
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 the That system by Pt. Vyankatmukhi.
2. Dene Dhrupad style in detail.
SECTION-B
3. Give complete descripon of any one Gharana from your prescribed syllabus.
4. Explain the inter-relaonship of music and yoga.
SECTION-C
5. Write the introducon of any one Raag Baageshri or Jaunpuri along with four taans in
taal Trital.
6. Write the descripon of Taal Dhamar along with its dugun, gun and chaugun.
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SECTION-D
7. Write the life sketch of Girija Devi.
8. Write in detail about the contribuon of Guru Govind Singh Ji in the eld of music.
GNDU ANSWER PAPERS 2023
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 the That system by Pt. Vyankatmukhi.
Ans: Who was Pt. Vyankatmukhi?
Pt. Vyankatmukhi (17th century) was a famous South Indian music scholar and theorist. He
wrote an important treatise called “Chaturdandi Prakashika.” In this book, he explained a
method to classify ragas using parent scales. This method later influenced both Carnatic
(South Indian) and Hindustani (North Indian) classical music traditions.
Think of him like a scientist of music who tried to bring order to musical diversity.
What is the Thaat System?
The Thaat system is a method of grouping ragas based on the notes they use.
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In Indian music, there are 7 basic notes (Swaras):
Sa, Re, Ga, Ma, Pa, Dha, Ni
Some of these notes can be natural (shuddha) or altered (komal/tivra).
So different combinations of these notes create different ragas.
But with hundreds of ragas, how do we organize them?
Pt. Vyankatmukhi’s idea:
“Let’s create parent scales (melas/thaats), and then place ragas under them.”
Just like:
• Animals → mammals, reptiles, birds
• Colors → primary, secondary
• Languages → families
Similarly:
Ragas → Thaats
Vyankatmukhi’s Original Idea: The Mela System
In South Indian music, Vyankatmukhi did not use the word thaat. He used the word “Mela.”
A Mela is a parent scale that contains all seven notes in order:
Sa Re Ga Ma Pa Dha Ni
But each note can appear in different forms.
So different combinations create different Melas.
How Many Melas Did He Create?
Pt. Vyankatmukhi proposed 72 Melas.
This is known as the 72 Mela System (Melakarta system).
Why 72?
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Because mathematically, if we arrange the possible variants of notes logically, we get 72
possible complete parent scales.
So:
72 Melas = 72 parent scales
From them → many ragas
How Did He Build These Melas?
Let’s understand in simple logic.
Some notes are fixed:
• Sa and Pa are always constant
Some notes have variations:
• Re (2 types)
• Ga (2 types)
• Ma (2 types)
• Dha (2 types)
• Ni (2 types)
By combining these variations in an orderly way, Vyankatmukhi generated 72 full scales.
This was revolutionary because:
✔ It was mathematical
✔ Logical
✔ Complete
✔ Systematic
What Makes a Mela (Thaat)?
According to Vyankatmukhi, a parent scale must:
1. Have all 7 notes
2. Notes must be in sequence
3. Ascending order only
4. No note repetition
5. Sa and Pa fixed
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So a Mela is like a pure skeleton of notes.
From this skeleton → ragas are born.
Relation Between Mela and Raga
Think of:
Mela = Alphabet
Raga = Word
or
Mela = Parent
Raga = Child
A raga may:
• Skip notes
• Zig-zag
• Emphasize certain notes
• Add emotion
But its base scale comes from a Mela.
So classification becomes easy.
Example to Understand
Suppose a Mela has:
Sa Re Ga Ma Pa Dha Ni
From this, ragas may be:
• Sa Ga Ma Pa Ni Sa
• Sa Re Ma Pa Dha Sa
• Sa Re Ga Pa Dha Ni Sa
All belong to same parent scale.
So they are grouped under one Mela.
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Influence on Hindustani Thaat System
Later, North Indian scholar Pt. Vishnu Narayan Bhatkhande simplified this idea.
He reduced 72 Melas into 10 Thaats for Hindustani music.
So indirectly:
Vyankatmukhi → Bhatkhande → Modern Thaat system
Thus, Vyankatmukhi’s work became the foundation.
Importance of Vyankatmukhi’s System
This system was important because:
✔ Organized hundreds of ragas
✔ Created scientific classification
✔ Helped music teaching
✔ Connected theory and practice
✔ Influenced both Carnatic and Hindustani music
Before this, ragas were scattered and confusing.
After this → systematic musicology emerged.
Why Students Should Remember Him
In exams and music theory, Vyankatmukhi is important because:
• First systematic raga classification
• Creator of 72 Mela system
• Author of Chaturdandi Prakashika
• Basis of later Thaat system
So he is like the “taxonomy creator” of Indian ragas.
Simple Story Analogy
Imagine a huge garden with thousands of flowers.
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Without classification → chaos.
Vyankatmukhi comes and says:
“Let’s group flowers by petals and colors.”
Now every flower has a category.
Similarly, he grouped ragas by notes.
Music became organized.
Final Understanding
Pt. Vyankatmukhi’s Thaat (Mela) system is a scientific method of classifying ragas based on
their seven-note parent scales. He created 72 such Melas using combinations of swaras.
Each raga belongs to a Mela. This system later influenced the Hindustani Thaat system of Pt.
Bhatkhande. Therefore, Vyankatmukhi laid the foundation for modern raga classification in
Indian classical music.
2. Dene Dhrupad style in detail.
Ans: Origins and Meaning
• The word Dhrupad comes from two Sanskrit terms: “Dhruva” (fixed, permanent) and
“Pada” (verse or composition).
• It traces back to the chanting of the Samaveda and is mentioned in ancient texts like
the Natyashastra and Bhagavata Purana.
• Initially, Dhrupad was sung in temples as a form of devotional music, praising deities
and creating a meditative atmosphere. Later, it found patronage in royal courts,
especially during the Mughal era.
Characteristics of Dhrupad
1. Spiritual and Meditative Nature
o Dhrupad is not just music—it is a spiritual practice. The emphasis is on purity
of sound and deep emotional expression.
o It often begins with a long, slow alap (introductory improvisation), which sets
the mood and explores the raga without rhythm.
2. Structure of a Dhrupad Composition A typical Dhrupad has four parts:
o Sthayi: The main theme, usually sung in the lower octave.
o Antara: The second section, exploring the middle and higher octaves.
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o Sanchari: A development section, elaborating on the raga.
o Abhog: The concluding section, bringing the composition to closure.
3. Use of Rhythm (Tala)
o Dhrupad is sung in specific talas like Chautal (12 beats), Dhamar (14 beats),
and Sooltal (10 beats).
o The rhythm is powerful and precise, often accompanied by the pakhawaj (a
barrel-shaped drum).
4. Language and Themes
o Lyrics are usually in Sanskrit, Braj Bhasha, or Hindi.
o Themes include devotion to gods (especially Vishnu, Shiva, and Krishna),
praise of kings, or descriptions of nature.
Performance Style
• Alap: The performance begins with a slow, unmetered exploration of the raga. The
singer uses long, sustained notes, glides (meend), and microtones (shruti) to create a
meditative mood.
• Composition: After the alap, the fixed composition (bandish) is sung with rhythmic
accompaniment.
• Voice Quality: Dhrupad emphasizes a deep, resonant voice, with clarity and
strength. Ornamentations like gamaka (oscillation) are used, but the style avoids
excessive flourishes.
Instruments in Dhrupad
• Pakhawaj: The main percussion instrument, providing a majestic and powerful
rhythm.
• Tanpura: Provides the drone, maintaining the tonal base.
• Veena or Rudra Veena: Sometimes used to accompany or perform Dhrupad, adding
depth.
Importance of Dhrupad
1. Oldest Vocal Tradition: It is considered the foundation of Hindustani classical music.
2. Spiritual Depth: Dhrupad connects music with meditation and devotion, making it
more than entertainment.
3. Discipline and Purity: It emphasizes strict adherence to raga rules, swara purity, and
rhythmic precision.
4. Influence on Other Styles: Later forms like Khayal, Thumri, and Bhajan evolved from
Dhrupad traditions.
Famous Dhrupad Traditions and Exponents
• Dagar Family: The most renowned lineage, preserving Dhrupad for centuries. The
Dagar Brothers are celebrated worldwide.
• Mallik Family and Darbhanga Tradition: Known for their powerful style and
devotional compositions.
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• Contemporary Revival: Today, Dhrupad is performed globally, with institutions like
the Dhrupad Sansthan keeping the tradition alive.
Mood and Experience
Listening to Dhrupad is like entering a temple of sound. Its slow unfolding, deep resonance,
and spiritual lyrics transport the listener into meditation. Unlike fast, decorative styles,
Dhrupad is about immersion, patience, and timelessness.
Conclusion
The Dhrupad style is the oldest and most profound form of Hindustani classical music.
Rooted in Vedic chants, it evolved into a sophisticated art form that combines spirituality,
discipline, and musical mastery. With its four-part composition, powerful rhythm, and
meditative alap, Dhrupad continues to inspire awe.
SECTION-B
3. Give complete descripon of any one Gharana from your prescribed syllabus.
Ans: Complete Description of Kirana Gharana (Hindustani Classical Music)
Imagine you are listening to a classical singer who sings very slowly, stretching each note
with deep emotion, making you feel peace and devotion. The melody flows like a calm river,
and every note seems alive. This beautiful, meditative style belongs to one of the most
respected traditions of Hindustani music — the Kirana Gharana.
Let us understand this Gharana in a simple, story-like way.
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What is a Gharana?
In Hindustani classical music, a Gharana means a musical family or tradition.
It is a style of singing or playing passed from guru (teacher) to disciple (student) over
generations.
Each Gharana has:
• its own singing style,
• special techniques,
• favorite ragas,
• and unique musical philosophy.
Origin of Kirana Gharana
The Kirana Gharana gets its name from the town Kairana (Kirana) in Uttar Pradesh, India.
Its modern foundation was laid by the great maestro:
Ustad Abdul Karim Khan (1872–1937)
He is considered the most important figure of Kirana Gharana.
He spread this style across India, especially in:
• Maharashtra
• Karnataka
• North India
Because of him, Kirana Gharana became one of the most popular vocal traditions.
Main Characteristics of Kirana Gharana
The Kirana Gharana is famous for Swara-pradhan Gayaki — meaning importance of notes
(swara) over rhythm or speed.
Let’s understand its features simply.
1. Extreme Importance of Swara (Notes)
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In this Gharana, each musical note is treated like a living being.
Singers focus deeply on:
• purity of pitch
• microtones (shruti)
• smooth transitions between notes
A single note may be sung for many seconds with slight variations.
This creates a meditative and emotional effect.
2. Slow and Detailed Alap
The alap (slow introduction of raga) is very long and detailed.
Kirana singers:
• start very slowly,
• explore each note carefully,
• build the raga step-by-step.
It feels like watching a flower slowly bloom.
3. Meend and Glide between Notes
One of the most beautiful features is meend — gliding smoothly from one note to another.
Instead of jumping between notes, Kirana singers slide gently.
This creates a soft, flowing sound, like silk.
4. Emotional and Devotional Expression
Kirana style is very bhava-pradhan (emotion-oriented).
The singing often expresses:
• devotion
• peace
• longing
• spiritual feeling
Listeners often feel calm or deeply moved.
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5. Preference for Certain Ragas
Kirana Gharana especially favors ragas with scope for slow elaboration, such as:
• Yaman
• Todi
• Marwa
• Darbari
• Multani
These ragas allow deep exploration of notes.
Important Exponents of Kirana Gharana
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Here are some great masters who carried this tradition forward:
Ustad Abdul Karim Khan
Founder of modern Kirana style
Known for sweet, emotional voice and perfect swara
Pandit Bhimsen Joshi
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One of India’s greatest vocalists
Powerful yet emotional singing
Popularized Kirana worldwide
Gangubai Hangal
Deep, strong voice
Maintained purity of Kirana tradition
Hirabai Barodekar
Graceful and expressive singer
Helped spread Kirana in Maharashtra
Musical Philosophy of Kirana Gharana
The Kirana Gharana believes:
Music is not just entertainment
Music is spiritual experience
So singers aim to:
• merge with the note,
• feel the raga deeply,
• express inner emotion.
That is why Kirana music often feels meditative and soulful.
Comparison with Other Gharanas (Simple Understanding)
To understand Kirana better:
• Agra Gharana → strong rhythm and bol-taan
• Gwalior Gharana → balanced classical style
• Kirana Gharana → pure note and emotion focus
So Kirana is called “Swara-centered Gharana.”
Contribution of Kirana Gharana
Kirana Gharana has given many important contributions:
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• Emphasis on perfect pitch
• Development of slow khayal singing
• Popularization of meend technique
• Spiritual dimension in vocal music
• Global recognition of Hindustani music
Many modern singers still learn Kirana style today.
Why Kirana Gharana is Unique
Let’s summarize its uniqueness simply:
• Notes are more important than speed
• Slow, deep raga development
• Smooth gliding between notes
• Emotional and spiritual expression
• Meditative listening experience
It is often described as “music of the soul.”
Conclusion
The Kirana Gharana is one of the most beautiful and influential traditions of Hindustani
classical music. Originating from the town of Kairana and shaped by the legendary Ustad
Abdul Karim Khan, it focuses deeply on the purity and emotional power of musical notes. Its
slow, detailed exploration of ragas, graceful glides between notes, and spiritual expression
make it unique among all gharanas.
Listening to Kirana singing feels like entering a peaceful inner world where each note
breathes, moves, and touches the heart. Through great masters like Bhimsen Joshi,
Gangubai Hangal, and Hirabai Barodekar, this tradition has continued to inspire musicians
and listeners across generations.
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4. Explain the inter-relaonship of music and yoga.
Ans: Foundations of Yoga and Music
• Yoga is about union—connecting the body, breath, and consciousness. It uses
postures (asanas), breathing (pranayama), and meditation to achieve balance.
• Music is about vibration—sound waves that influence emotions, thoughts, and even
physical states. Ancient Indian philosophy describes the universe itself as born from
sound (Nada Brahma—“the world is sound”).
When yoga and music meet, they both work on the same principle: harmony. Yoga
harmonizes the body and mind, while music harmonizes emotions and energy.
How Music Enhances Yoga Practice
1. Deepening Meditation
• Soft, rhythmic music helps calm the mind and reduce distractions.
• Certain ragas or chants can guide practitioners into deeper states of meditation.
• Example: The chanting of Om creates vibrations that align with breathing, enhancing
focus.
2. Regulating Breath and Flow
• Music with steady rhythm can synchronize with breathing exercises.
• This makes pranayama more natural and helps maintain consistency.
3. Emotional Balance
• Music influences emotions directly.
• Listening to calming tunes during yoga reduces anxiety and stress, while uplifting
music can energize the practice.
4. Mindfulness and Awareness
• Music encourages presence in the moment.
• Just as yoga teaches awareness of breath and body, music teaches awareness of
sound and silence.
Yogic Concepts of Sound
Indian philosophy recognizes sound (Nada) as a spiritual force.
• Anahata Nada (Unstruck Sound): The inner sound heard in deep meditation,
symbolizing the soul’s connection to the universe.
• Mantras: Sacred syllables like Om are repeated to focus the mind and channel
energy.
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• Ragas: Specific musical modes are linked to times of day and emotions, aligning
human consciousness with nature.
Thus, music is not external decoration—it is part of yoga’s spiritual foundation.
Benefits of Combining Music and Yoga
1. Stress Relief: Both music and yoga reduce cortisol levels, calming the nervous
system.
2. Enhanced Concentration: Rhythmic sounds help maintain focus during meditation
and asanas.
3. Emotional Healing: Music evokes emotions, while yoga provides tools to process
them. Together, they create emotional resilience.
4. Physical Relaxation: Gentle music during yoga slows heart rate and relaxes muscles.
5. Spiritual Awakening: Chanting and ragas elevate consciousness, making yoga a
deeper spiritual journey.
Practical Examples
• Chanting Mantras: Repeating Om Namah Shivaya during meditation aligns breath,
sound, and thought.
• Raga Therapy: Morning ragas like Bhairav are used in yoga sessions to create
serenity.
• Instrumental Music: Flute, sitar, or tanpura drones provide a soothing background
for yoga practice.
• Kirtan Yoga: Singing devotional songs in groups combines music, breath, and
movement, creating collective energy.
Conclusion
The inter-relationship of music and yoga is profound. Yoga disciplines the body and mind,
while music touches the emotions and spirit. Together, they create a holistic practice that
heals, inspires, and elevates.
• Yoga without music can feel austere; music without yoga can feel fleeting.
• But when combined, they become a journey of harmony—where sound guides
breath, breath guides movement, and movement guides the soul toward peace.
In short, music and yoga are two sides of the same coin: both are paths to inner balance,
joy, and spiritual awakening.
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SECTION-C
5. Write the introducon of any one Raag Baageshri or Jaunpuri along with four taans in
taal Trital.
Ans: Introduction of Raag Bageshri with Four Taans in Trital
Understanding Raag Bageshri — The Mood of Late-Night Emotion
In Hindustani classical music, every raag is like a personality with its own mood, time, and
emotional color. Raag Bageshri is one of the most expressive and romantic ragas. When we
listen to Bageshri, it feels like a quiet night filled with deep longing and gentle love. It is
often associated with viraha (separation), devotion, and calm romantic feeling (shringara
rasa).
This raag is traditionally sung or played late at night, usually in the second or third prahar of
the night (around 9 pm to midnight). At this time, the world becomes quieter, and
emotions become deeper — exactly the atmosphere Bageshri expresses.
Thaat, Jati, and Important Notes
To understand any raag, we first look at its basic musical structure:
• Thaat: Kafi
• Jati: Audav–Sampurna (5 notes in ascent, 7 in descent)
• Vadi (most important note): Ma
• Samvadi (second important): Sa
• Time of performance: Late night
• Nature: Serious, romantic, devotional
Aroha and Avaroha
The movement of notes in a raag gives it identity. In Bageshri, the ascent and descent are
different, which creates its special beauty.
• Aroha (ascending):
S g M D n
• Avaroha (descending):
n D M g R S
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Here, Re and Pa are omitted in ascent, and komal Ga and komal Ni are used. This omission
and use of soft notes create the emotional softness of Bageshri.
Pakad (Signature Phrase)
Every raag has a characteristic phrase that immediately reveals its identity. For Bageshri, the
pakad is:
g M D n D M g R S
When a musician sings this phrase, listeners instantly recognize Raag Bageshri.
Emotional Character and Expression
Imagine someone sitting quietly at night, remembering a loved one far away. The feeling is
not loud sorrow, but gentle longing. That is exactly the emotion of Bageshri. The dominance
of Ma gives stability and depth, while komal Ga and Ni give softness and tenderness.
Because of this emotional depth, Bageshri is widely used in khayal, thumri, bhajan, and film
music. Many classical vocalists choose Bageshri to express devotion or romantic longing.
Taans in Trital
Now let us understand the second part of the question: “four taans in taal Trital.”
Trital is the most common rhythm cycle in Hindustani music. It has 16 beats divided into 4
equal parts:
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
When writing taans in Trital, we arrange melodic patterns so they fit into 16 beats.
Below are four simple Bageshri taans, suitable for exams and practice.
Taan 1
S g M D n | n D M g R S
This is a basic straight taan showing ascent and descent of Bageshri.
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Taan 2
g M D n D M | g R S g M D n
This taan emphasizes the pakad movement and returns to upper Sa.
Taan 3
S g M D n n | D M g R S g M
This taan moves to upper octave and descends gracefully.
Taan 4
g M D n n D | M g R S
This taan clearly expresses the emotional descent typical of Bageshri.
How to Present in Exam (Important Tip)
In exams, you should write the answer in structured form like this:
Raag: Bageshri
Thaat: Kafi
Jati: Audav–Sampurna
Vadi: Ma
Samvadi: Sa
Time: Late night
Aroha: S g M D n
Avaroha: n D M g R S
Pakad: g M D n D M g R S
Then write the four taans.
This format gives full marks because it shows both theoretical and practical knowledge.
Conclusion
Raag Bageshri is one of the most beautiful and emotionally rich ragas in Hindustani classical
music. Its late-night mood, soft komal notes, and expressive phrases create a feeling of
quiet longing and devotion. The omission of Re and Pa in ascent and the prominence of Ma
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give the raag its unique identity. When performed in Trital with flowing taans, Bageshri
becomes deeply moving and aesthetically pleasing.
6. Write the descripon of Taal Dhamar along with its dugun, gun and chaugun.
Ans: Introduction to Taal Dhamar
• Taal Dhamar is a 14-beat cycle (matras).
• It is closely linked with the Dhrupad tradition and is often used for compositions
sung during the festival of Holi, which is why many Dhamar bandishes celebrate
themes of playfulness, devotion, and joy.
• The rhythm is played on the pakhawaj, the traditional drum of Dhrupad, giving it a
majestic and powerful feel.
Structure of Taal Dhamar
The 14 beats are divided into 4 vibhags (sections):
• 1st Vibhag: 5 beats
• 2nd Vibhag: 2 beats
• 3rd Vibhag: 3 beats
• 4th Vibhag: 4 beats
Theka (basic pattern of beats)
The traditional theka of Dhamar is:
Ka Dhi Ta | Dhi Ta | Dha - | Ti Ta Ka Dhi Ta
This sequence repeats every cycle of 14 beats.
Characteristics of Taal Dhamar
1. Majestic and Playful: It combines grandeur with a sense of joy, making it ideal for
devotional and festive compositions.
2. Association with Holi: Many Dhamar bandishes describe Krishna’s playful acts during
Holi, adding a cultural flavor.
3. Flexibility: Though rooted in Dhrupad, it can also be used in lighter classical forms.
Dugun, Tigun, and Chaugun
These terms describe how the same taal can be performed at different speeds relative to its
basic tempo.
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1. Dugun (Double Speed)
• Each beat is divided into two parts.
• If the basic theka is played once per beat, in dugun it is played twice as fast.
• Example: Instead of “Ka Dhi Ta,” you would hear “Ka Dhi Ta Ka Dhi Ta” within the
same time span.
• Effect: Creates excitement and energy, often used to build momentum in
performance.
2. Tigun (Triple Speed)
• Each beat is divided into three parts.
• The theka is played three times faster than the basic speed.
• Example: “Ka Dhi Ta” becomes “Ka Dhi Ta Ka Dhi Ta Ka Dhi Ta” within the same beat.
• Effect: Adds complexity and showcases the artist’s rhythmic mastery.
3. Chaugun (Quadruple Speed)
• Each beat is divided into four parts.
• The theka is played four times faster than the basic speed.
• Example: “Ka Dhi Ta” becomes “Ka Dhi Ta Ka Dhi Ta Ka Dhi Ta Ka Dhi Ta” in one beat.
• Effect: Creates a dazzling climax, often used towards the end of a performance to
leave the audience in awe.
Performance in Dhamar
• A typical Dhamar composition begins with a slow, dignified alap in the chosen raga.
• The bandish (composition) is then sung in Taal Dhamar, with the pakhawaj providing
the rhythmic base.
• The singer explores the raga through improvisations, gradually moving from vilambit
(slow tempo) to faster speeds, using dugun, tigun, and chaugun to display rhythmic
brilliance.
Importance of Taal Dhamar
1. Cultural Significance: Deeply tied to Holi and Krishna’s playful traditions.
2. Musical Discipline: Its unusual 14-beat cycle challenges both singer and
percussionist, demanding precision.
3. Artistic Expression: The use of multiple speeds allows performers to showcase
creativity and technical skill.
4. Spiritual Depth: Despite its playfulness, Dhamar retains the devotional essence of
Dhrupad.
Conclusion
Taal Dhamar is a 14-beat rhythmic cycle that blends majesty, devotion, and festivity. Its
structure (5+2+3+4) makes it unique, and its theka provides a powerful base for Dhrupad
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compositions. Through dugun, tigun, and chaugun, musicians transform the taal from calm
dignity to dazzling brilliance, taking listeners on a rhythmic journey.
SECTION-D
7. Write the life sketch of Girija Devi.
Ans: When we think about Indian classical music, we often imagine deep ragas, slow
melodies, and powerful emotions. Among the many great artists who shaped this beautiful
tradition, one name shines brightly — Girija Devi, lovingly known as the “Queen of Thumri.”
Her life story is not just about music; it is about courage, dedication, tradition, and passion.
Let us explore her life in a simple, engaging way so that every student can understand and
enjoy it.
Early Life and Childhood
Girija Devi was born on 8 May 1929 in Varanasi (Banaras), Uttar Pradesh, one of the most
culturally rich cities of India. Banaras has always been famous for classical music, dance, and
spirituality. Growing up in such an environment naturally filled her life with music from the
very beginning.
Her father, Ramdeo Rai, was a zamindar (landowner) and also a great lover of music. Unlike
many families of that time, he strongly believed that girls should learn music. This was a
bold and progressive thought in the early 20th century, when many people felt that music
was not suitable for respectable women.
Seeing little Girija’s natural talent and interest, her father arranged for her musical training
at a very young age. She started learning music when she was only five years old.
Musical Training and Gurus
Girija Devi’s first guru was Pandit Sarju Prasad Mishra, a respected classical musician of the
Banaras gharana. Under his guidance, she learned the basics of classical singing, including
ragas, voice control, and rhythm.
After his death, she continued her training with another great teacher, Pandit Chand Misra.
From him, she learned various semi-classical forms such as:
• Thumri
• Dadra
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• Kajri
• Chaiti
• Tappa
These forms are deeply emotional and connected to folk traditions of eastern Uttar Pradesh
and Bihar. Girija Devi mastered them beautifully, especially Thumri, which later became her
identity.
Struggle in a Conservative Society
Today, it may seem normal for women to perform music publicly, but during Girija Devi’s
youth, society was very conservative. Respectable families often did not allow women to
sing on stage or radio, as performing arts were wrongly associated with courtesans.
Even after her marriage at the age of 17, her in-laws initially did not support her public
singing career. But Girija Devi had a deep love for music. She believed music was not
shameful — it was sacred.
With courage and determination, she continued her practice quietly and respectfully.
Eventually, her husband supported her passion. This support changed her life.
First Public Performance
A major turning point came in 1949, when Girija Devi gave her first broadcast performance
on All India Radio (AIR), Allahabad. This was a huge achievement for a woman classical
singer of that era.
Her voice was rich, expressive, and deeply emotional. Listeners immediately noticed her
unique style. Soon, invitations for concerts began arriving from across India.
From that moment, her musical journey truly began.
Rise as the “Queen of Thumri”
Girija Devi became famous for her powerful and expressive rendering of Purab Ang Thumri
(the eastern style of Thumri associated with Banaras and Lucknow). Her singing had three
special qualities:
• Emotional depth
• Clear pronunciation of lyrics
• Perfect balance of classical and folk elements
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She could make listeners feel every word she sang — whether it was devotion, love, longing,
or separation.
Because of her unmatched mastery, music lovers and critics began calling her the “Queen of
Thumri.”
Contribution to Indian Music
Girija Devi did much more than perform concerts. She preserved and promoted many
traditional musical forms that were slowly disappearing, such as:
• Kajri (monsoon songs)
• Chaiti (spring songs)
• Hori (Holi festival songs)
• Jhoola songs
She brought these regional forms to national and international stages, giving them dignity
and recognition.
She also became a respected music teacher. She taught at:
• ITC Sangeet Research Academy, Kolkata
• Banaras Hindu University
Through her teaching, she passed her knowledge to future generations.
Awards and Honors
Girija Devi’s contribution to Indian music was widely recognized. She received many
prestigious awards:
• Padma Shri (1972)
• Padma Bhushan (1989)
• Padma Vibhushan (2016) — India’s second-highest civilian award
• Sangeet Natak Akademi Award
• Sangeet Natak Akademi Fellowship
These honors show how deeply she influenced Indian classical music.
Later Years and Legacy
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Even in her later years, Girija Devi continued to perform and teach. Her voice retained its
sweetness and emotional power even in old age. She remained devoted to music until the
end of her life.
She passed away on 24 October 2017 in Kolkata at the age of 88.
But her music did not end — it continues to live in recordings, students, and the hearts of
listeners. Today, she is remembered as one of the greatest female classical vocalists of India.
Personality and Character
Girija Devi was known for:
• Simplicity
• Discipline
• Devotion to tradition
• Respect for lyrics and emotion
She believed that music should come from the soul, not just technical skill. Her singing
always reflected sincerity and spiritual depth.
Conclusion
The life of Girija Devi is an inspiring journey of talent, struggle, courage, and dedication.
Born in a traditional society that restricted women, she broke barriers with dignity and
grace. Through her powerful voice and deep emotional expression, she elevated Thumri to
classical prestige and preserved many folk musical traditions of North India.
8. Write in detail about the contribuon of Guru Govind Singh Ji in the eld of music.
Ans: Background: Music in Sikh Tradition
From Guru Nanak Dev Ji onwards, music was central to Sikh practice. The Gurus used ragas
and shabads (hymns) to convey divine wisdom. This tradition, known as Gurmat Sangeet,
was carried forward by each Guru, and Guru Gobind Singh Ji gave it new dimensions.
Guru Gobind Singh Ji’s Contributions
1. Preservation and Expansion of Gurmat Sangeet
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• Guru Gobind Singh Ji continued the tradition of singing hymns in prescribed ragas.
• He emphasized that music was not for entertainment but for spiritual elevation and
connecting with the Divine.
• His compositions in the Dasam Granth were set to ragas, ensuring that the spiritual
message was conveyed through melody and rhythm.
2. Introduction of Martial Spirit in Music
• Guru Gobind Singh Ji infused music with bir ras (heroic sentiment).
• His compositions inspired courage, valor, and devotion, preparing Sikhs to face
oppression fearlessly.
• Instruments like the nagara (war drum) and ranjitha were used to energize the
Khalsa army, blending music with martial discipline.
3. Encouragement of Dhadi Tradition
• Guru Gobind Singh Ji encouraged dhadis (ballad singers) to narrate heroic tales of
warriors and martyrs through music.
• This tradition kept alive the spirit of sacrifice and bravery among Sikhs.
• Dhadi performances combined storytelling with instruments like the sarangi and
dhadd, making them powerful tools of motivation.
4. Promotion of Rababi and Ragi Traditions
• He supported rababis (musicians of Muslim origin who sang Gurbani) and ragis (Sikh
hymn singers).
• This showed his inclusive vision—music was a universal language that transcended
religious boundaries.
• By encouraging diverse musicians, he strengthened the communal and spiritual
fabric of Sikh society.
5. Compositions in Dasam Granth
• Guru Gobind Singh Ji composed hymns like Jaap Sahib, Akal Ustat, and Chandi di Var,
many of which were set to ragas.
• These works combined devotion with philosophy, courage, and poetic brilliance.
• The musical rendering of these compositions continues to inspire Sikhs in prayer and
in daily life.
6. Institutionalizing Music in Sikh Practice
• He reinforced the role of kirtan (devotional singing) in congregational worship.
• By making music central to the Khalsa’s spiritual practice, he ensured that it
remained a collective, uplifting experience.
• His vision made music both a spiritual discipline and a social bond.
Instruments Associated with Guru Gobind Singh Ji
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• Pakhawaj and Tabla: For rhythm in kirtan.
• Sarangi and Rabab: For melodic accompaniment.
• Nagara (war drum): To inspire martial spirit in the Khalsa.
These instruments reflected both the devotional and heroic aspects of Sikh life.
Importance of His Musical Contribution
1. Spiritual Depth: He reinforced music as a medium of divine connection.
2. Martial Energy: His compositions inspired courage and unity in the Khalsa.
3. Cultural Continuity: By supporting ragis, rababis, and dhadis, he preserved diverse
traditions.
4. Collective Identity: Music became a tool to unite Sikhs in devotion and resistance.
Conclusion
Guru Gobind Singh Ji’s contribution to music was profound and multifaceted. He preserved
the spiritual essence of Gurmat Sangeet, infused it with heroic energy, and encouraged
traditions that inspired devotion and bravery. His compositions in the Dasam Granth
continue to be sung in ragas, reminding Sikhs that music is not just sound—it is prayer,
courage, and identity.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
