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GNDU QUESTION PAPERS 2024
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. What is the role of Globalisaon in promong Indian Music?
2. Describe in detail about the formaon structure of 72 Melas by Pandit Venkat Makhi.
SECTION-B
3. Write down in detail about the Gwalior Gharana of Khyaal singing style.
4. Write down an essay on topic Music and Literature.
SECTION-C
5. By giving the descripon of Raga Jaunpuri also write down the notaon of its Drut Khyal
Bandish.
6. By giving the descripon of Tala Jhumra also make its notaon with Tha, Dugun and
Chaugun layakaries.
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SECTION-D
7. Give the contribuon of Vidhushi Girija Devi towards Indian Classical music, with her
Biography.
8. Throw the light on the contribuon of Guru Gobind Singh Ji towards Indian music.
GNDU ANSWER PAPERS 2024
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. What is the role of Globalisaon in promong Indian Music?
Ans: What is Globalisation in Music?
Globalisation means the increasing connection and interaction between countries through
trade, technology, media, travel, and culture. In music, globalisation allows musical styles,
instruments, and artists from one country to reach audiences in another country easily.
For Indian music, globalisation has acted like a bridge connecting India’s rich musical
heritage with the rest of the world.
1. Global Platforms Have Taken Indian Music Worldwide
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One of the biggest ways globalisation promotes Indian music is through digital platforms.
Earlier, listening to Indian music abroad required physical records or live concerts. Now
platforms like Spotify, YouTube, Apple Music, and Instagram allow instant global access.
For example:
• A listener in Canada can enjoy Bollywood songs the same day they release in India.
• Indian classical performances uploaded on YouTube attract millions of international
viewers.
• Independent Indian artists can share music globally without big record companies.
This digital reach has made Indian music part of the global soundscape.
2. International Collaborations Have Created Fusion Music
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Globalisation encourages artists from different countries to collaborate. Indian musicians
now work with Western bands, orchestras, jazz artists, and DJs. This creates fusion music,
blending Indian ragas, rhythms, and instruments with global styles like rock, jazz, or
electronic music.
Examples include:
• Tabla mixed with electronic beats
• Sitar used in Western pop songs
• Indian ragas adapted into jazz compositions
Such collaborations make Indian music more familiar and attractive to global audiences
while also keeping its identity alive.
3. International Concerts and Festivals Spread Indian Music
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Globalisation has increased travel and cultural exchange. Indian musicians now perform
regularly in international concerts, cultural festivals, and world music events.
For example:
• Indian classical artists tour Europe and America.
• Bollywood singers perform world tours for global fans.
• Indian music appears in international cultural festivals.
These live performances help foreign audiences experience Indian music directly, increasing
appreciation and respect for it.
4. Films and Media Have Made Indian Music Global
Indian cinema—especially Bollywood—has been a powerful carrier of Indian music
worldwide. With global film distribution and streaming platforms like Netflix and Amazon
Prime, Indian film songs now reach millions across continents.
Many people who do not understand Hindi still enjoy Bollywood songs because of their
melody, rhythm, and emotional expression. Over time, Bollywood music has become a
recognizable global genre.
5. Online Learning Has Globalised Indian Musical Education
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Earlier, learning Indian classical music required living near a guru in India. Today,
globalisation and technology allow students worldwide to learn online through video
classes, tutorials, and virtual academies.
Students from the USA, Europe, Japan, and Australia now study:
• Hindustani vocal
• Carnatic music
• Tabla
• Sitar
This global student base ensures that Indian music traditions continue across generations
and cultures.
6. Indian Diaspora Has Promoted Music Abroad
Millions of Indians living abroad carry their musical culture with them. They organize
concerts, festivals, and cultural events in foreign countries. Through diaspora communities,
Indian music becomes part of multicultural societies.
For example:
• Diwali festivals abroad include Indian music performances
• Cultural associations teach classical music to children
• Bollywood dance and music competitions are held internationally
Thus, migration has helped Indian music travel globally.
7. Globalisation Has Increased Respect for Indian Classical Music
Earlier, Western audiences often saw non-Western music as exotic or unfamiliar. But
globalisation has changed attitudes. Indian classical music is now studied in universities,
performed in prestigious halls, and respected as a sophisticated art form.
Foreign musicians admire Indian rhythmic complexity and improvisation. This recognition
elevates India’s musical reputation worldwide.
Balanced View: Challenges of Globalisation
While globalisation promotes Indian music, it also brings challenges:
• Commercialisation may dilute traditional forms
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• Fusion may overshadow pure classical styles
• Market demand may favor Bollywood over folk music
So, preserving authenticity while reaching global audiences is important.
Conclusion
In simple terms, globalisation has acted like a powerful amplifier for Indian music. Through
digital media, international collaborations, global concerts, films, online learning, and
diaspora communities, Indian music has crossed borders and touched hearts worldwide.
Today, Indian music is no longer limited to India—it is part of global culture. A raga can be
heard in Paris, a tabla beat in New York clubs, and a Bollywood song in African weddings.
This worldwide journey of Indian music beautifully shows how globalisation connects
cultures while celebrating diversity.
2. Describe in detail about the formaon structure of 72 Melas by Pandit Venkat Makhi.
Ans: What Are Melas?
• A Mela (Melakarta) is a parent scale or framework from which ragas are derived.
• Each mela uses all seven notes (swaras) in both ascent (arohana) and descent
(avarohana).
• These notes are arranged systematically, ensuring that every possible combination
of swaras is covered.
Venkatamakhi’s Contribution
Before Venkatamakhi, ragas were classified loosely, often by tradition or region. He
introduced a scientific system based on the 12 swaras (notes) of the octave.
• He recognized that each octave has:
o 7 basic swaras: Sa, Ri, Ga, Ma, Pa, Dha, Ni
o With variations (shuddha, chatusruti, shatsruti, etc.), leading to 12 distinct
positions.
• By systematically combining these, he created a framework of 72 parent scales
(Melakartas).
• This was revolutionary—it gave Carnatic music a logical foundation similar to how
Western music uses scales.
Structure of the 72 Melas
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Step 1: Division into Two Groups
• The 72 Melas are divided into two sets of 36 each:
o Poorva Melas (first half): Use Shuddha Madhyamam (Ma1)
o Uttara Melas (second half): Use Prati Madhyamam (Ma2)
Step 2: Chakras (Groups of Six)
• Each set of 36 is further divided into 6 chakras, each containing 6 melas.
• Thus, there are 12 chakras total (6 with Ma1, 6 with Ma2).
• Each chakra is named (Indu, Netra, Agni, Veda, Bana, Ritu, Rishi, Vasu, Brahma, Disi,
Rudra, Aditya).
Step 3: Arrangement of Notes
• Sa and Pa are fixed (always present).
• Ma is either Shuddha (Ma1) or Prati (Ma2).
• Ri, Ga, Dha, Ni vary systematically across the chakras.
• This systematic variation ensures all possible parent scales are covered.
Example
• Mela 29: Shankarabharanam
o Notes: Sa Ri2 Ga3 Ma1 Pa Dha2 Ni3 Sa
o Equivalent to the Western major scale (Ionian mode).
o Many ragas are derived from this mela, like Kalyani and Hamsadhwani.
• Mela 65: Mechakalyani
o Notes: Sa Ri2 Ga3 Ma2 Pa Dha2 Ni3 Sa
o Similar to Shankarabharanam but with Prati Ma.
o Gives rise to ragas like Kalyani.
Importance of the 72 Melas
1. Scientific Classification: Ensures every raga has a logical parent scale.
2. Foundation for Learning: Students can understand ragas systematically rather than
memorizing them randomly.
3. Creativity: Composers can derive new ragas by exploring unused combinations.
4. Universality: The system parallels Western scales, making Carnatic music easier to
explain globally.
Critical Analysis
• Strengths:
o Logical, complete, and systematic.
o Preserves tradition while allowing innovation.
• Limitations:
o Not all 72 melas are equally popular; only about 20–30 are widely used.
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o Some scales sound very similar, making practical distinction difficult.
Conclusion
Pandit Venkatamakhi’s 72 Melakarta system is a cornerstone of Carnatic music. By
organizing ragas into parent scales, he gave Indian music a scientific backbone that still
guides musicians today.
SECTION-B
3. Write down in detail about the Gwalior Gharana of Khyaal singing style.
Ans: Origin and Historical Background
4
The Gwalior Gharana developed in the historic city of Gwalior in present-day Madhya
Pradesh. This city was a major cultural center during the medieval and Mughal periods.
Music flourished here under royal patronage, especially during the rule of the Scindia kings.
Although Dhrupad was the dominant classical style in earlier centuries, over time musicians
began to experiment with a more expressive and flexible style. This evolution gradually led
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to Khyaal, and the Gwalior Gharana became the first major school to shape and formalize
Khyaal singing.
Two important early figures associated with this gharana were Naththan Pir Baksh and his
grandsons Hassu Khan and Haddu Khan (19th century). They systematized the musical
approach, compositions, and teaching methods. Because of them, the Gwalior Gharana
gained recognition as the “mother gharana” of Khyaal.
Why It Is Called the “Mother of Khyaal Gharanas”
Many later gharanas—like Agra, Jaipur-Atrauli, and Kirana—were influenced by or branched
out from Gwalior traditions. So, just as a family tree has one ancestor, Gwalior is considered
the ancestor of most Khyaal styles.
Its importance lies in the fact that it preserved a balanced, classical, and clear approach to
Khyaal before later gharanas added more specialization and ornamentation.
Main Features of Gwalior Khyaal Singing
Let’s understand the characteristics through simple points.
1. Simplicity and Clarity
The Gwalior style avoids excessive ornamentation. The singer presents the raga in a
straightforward and dignified way. Every note is clear, and the audience can easily recognize
the raga.
2. Medium Tempo (Madhya Laya) Preference
Unlike some gharanas that focus on very slow tempo (vilambit), Gwalior often emphasizes
madhya laya bandish. This creates a lively yet controlled musical flow.
3. Importance of Bandish (Composition)
In this gharana, the bandish is central. The composition itself carries the structure of the
raga. The singer develops improvisation around the bandish rather than drifting away from
it.
4. Bol-Baant and Bol-Taans
Words of the composition are creatively divided and expanded in rhythm (bol-baant). Taans
(fast melodic runs) often follow the words (bol-taan), making the music both lyrical and
rhythmic.
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5. Straightforward Raga Development
The raga unfolds step-by-step without complex or abstract exploration. This makes Gwalior
singing ideal for students learning Khyaal.
6. Use of Sapat Taans
Taans in Gwalior style are often sapat (straight scale-like) rather than highly curved or
zigzag. This reflects its disciplined and classical nature.
Structure of a Gwalior Khyaal Performance
A typical Gwalior presentation follows a clear pattern:
1. Short alap – Brief introduction of the raga
2. Bandish in madhya laya – Main composition
3. Bol-alap and bol-baant – Rhythmic word expansion
4. Taans – Fast melodic patterns
5. Drut bandish – Faster concluding composition
This structure feels balanced and complete—neither too slow nor too decorative.
Important Musicians of Gwalior Gharana
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Many great musicians preserved and spread this tradition:
• Haddu Khan and Hassu Khan – Founders of modern Gwalior Khyaal
• Naththan Pir Baksh – Early guru
• Pandit Vishnu Digambar Paluskar – Brought classical music to the public and
institutions
• Pandit Omkarnath Thakur – Emotional yet classical exponent
• Krishnarao Shankar Pandit – Master of traditional Gwalior gayaki
Through these artists, Gwalior music spread across India, especially Maharashtra and North
India.
Contribution to Hindustani Music
The Gwalior Gharana gave Khyaal a stable and classical form. Its major contributions
include:
• Systematic teaching tradition (guru-shishya parampara)
• Preservation of many traditional bandishes
• Foundation for later gharanas
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• Popularization through music schools and concerts
Without Gwalior, Khyaal might not have become the dominant classical vocal style in North
India.
Why Students Find It Easy to Learn
Teachers often start students with Gwalior compositions because:
• Raga structure is clear
• Taans are straightforward
• Rhythm is balanced
• Ornamentation is controlled
So it acts like a grammar book of Khyaal music.
Conclusion
The Gwalior Gharana of Khyaal singing is like the classical backbone of Hindustani vocal
music. Born in the royal cultural environment of Gwalior, it shaped Khyaal into a disciplined,
balanced, and expressive art form. Its emphasis on clear raga presentation, structured
bandish, and rhythmic beauty makes it both scholarly and enjoyable.
4. Write down an essay on topic Music and Literature.
Ans: Music and Literature: Two Sides of the Same Coin
• Literature uses words, rhythm, and imagery to tell stories and evoke emotions.
• Music uses sound, melody, and rhythm to do the same.
• Both rely on patterns—whether it’s rhyme and meter in poetry or rhythm and
harmony in music.
• At their core, both are about expression: literature speaks through language, while
music speaks through sound.
Historical Connections
1. Ancient Traditions:
o In Vedic India, hymns (Rigveda) were both literature and music, chanted in
specific melodic patterns.
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o Greek tragedies combined poetry, dialogue, and music, showing how
inseparable the two arts were.
2. Medieval Period:
o Bhakti saints like Kabir and Mirabai expressed devotion through songs that
were both literary poetry and musical compositions.
o In Europe, troubadours composed lyrical poetry set to music, blending
storytelling with melody.
3. Modern Times:
o Rabindranath Tagore’s Gitanjali is a perfect example—poems that became
songs, carrying both literary depth and musical beauty.
o Bob Dylan, awarded the Nobel Prize in Literature, shows how songwriting can
be recognized as literature.
Literature Inspiring Music
• Many composers have drawn inspiration from literary works.
• Operas are essentially musical adaptations of stories and plays.
• In India, epics like the Ramayana and Mahabharata have inspired countless musical
compositions, from classical ragas to folk songs.
Music Enhancing Literature
• Poetry often borrows musical qualities: rhythm, rhyme, and cadence.
• Reading Shakespeare aloud feels musical because of its meter (iambic pentameter).
• In storytelling, musical references heighten emotional impact—think of lullabies in
novels or songs sung by characters.
Shared Elements
1. Rhythm: Poetry has meter; music has beat.
2. Emotion: Both aim to stir the heart—joy, sorrow, devotion, or love.
3. Symbolism: Literature uses metaphors; music uses motifs.
4. Universality: Both transcend language barriers—music through sound, literature
through translation.
Examples from Indian Tradition
• Classical Music: Many ragas are linked to poetic compositions (bandish), showing
how literature and music merge.
• Sufi Poetry: Works of Bulleh Shah and Shah Abdul Latif are sung as qawwalis and
folk songs, carrying spiritual messages through melody.
• Folk Literature: Punjabi boliyan (short couplets) are sung in Giddha and Bhangra,
blending oral literature with music.
Modern Interplay
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• Film songs are perhaps the most visible example today—lyrics (literature) combined
with melody (music) create powerful cultural expressions.
• Rap and hip-hop rely heavily on literary devices like rhyme, metaphor, and
storytelling, proving that literature and music continue to evolve together.
Critical Reflection
• Literature gives music words and meaning.
• Music gives literature sound and soul.
• Together, they create a fuller experience—songs that tell stories, poems that sing,
and narratives that resonate beyond language.
Conclusion
The relationship between music and literature is like that of body and soul—inseparable,
complementary, and deeply human. Literature provides the narrative, while music provides
the emotional resonance. From Vedic chants to modern rap, from Tagore’s songs to
Shakespeare’s verse, the two have always walked hand in hand.
SECTION-C
5. By giving the descripon of Raga Jaunpuri also write down the notaon of its Drut Khyal
Bandish.
Ans: Raga Jaunpuri – Description and Drut Khyal Bandish
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Introduction to Raga Jaunpuri
Imagine a calm early morning in North India — the air is cool, the world is slowly waking up,
and there is a gentle feeling of devotion and seriousness in the atmosphere. The raga that
beautifully expresses this mood is Raga Jaunpuri.
Raga Jaunpuri is one of the important ragas of Hindustani Classical Music. It belongs to the
Asavari Thaat and is usually sung in the late morning (second prahar of the day). Its nature
is serious, devotional, and slightly plaintive (karun rasa). Because of this emotional depth,
it is often used in khyal singing and semi-classical compositions.
Basic Structure of Raga Jaunpuri
To understand any raga, we must know its musical framework:
• Thaat: Asavari
• Jati: Shadav–Sampurna (6 notes in ascent, 7 in descent)
• Vadi (most important note): Dha
• Samvadi (second important): Ga
• Time of singing: Late morning
• Nature: Serious, devotional, pathos-filled
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Aroh (Ascending Notes)
Sa Re Ma Pa Dha Ni Sa'
Ga is omitted in ascent.
Avroh (Descending Notes)
Sa' Ni Dha Pa Ma Ga Re Sa
All notes appear in descent, with komal Ga, Dha, Ni.
Pakad (Catch phrase)
Re Ma Pa, Dha Pa, Ma Ga Re Sa
This phrase helps identify Jaunpuri instantly.
Special Features of Raga Jaunpuri
Raga Jaunpuri has a distinctive identity because of certain movements:
• Komal Ga, Dha, Ni give it a soft, emotional color.
• Ga appears mainly in descent, making descent expressive.
• Dha is strongly emphasized (Vadi).
• Pa–Dha–Pa and Ma–Ga–Re movements are characteristic.
The raga flows gently downward, giving a feeling of introspection and devotion.
Drut Khyal in Raga Jaunpuri
Now let us understand the second part of the question — notation of a Drut Khyal Bandish.
A Drut Khyal is a fast-tempo composition usually sung after the slow (Vilambit) Khyal. It
shows the singer’s skill through taans, fast phrases, and rhythmic play.
One traditional Drut Khyal in Jaunpuri is:
“Eri Aali Piya Bin”
(Taal: Teentaal – 16 beats)
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Notation (Swar-lipi) – Drut Khyal in Jaunpuri
Bandish: Eri Aali Piya Bin
Taal: Teentaal
Laya: Drut
Sthayi (First Part)
:
Sa Re Ma Pa | Dha Pa Ma Ga | Re Sa — | Re Ma Pa —
Dha Pa Ma Ga | Re Sa Re Ma | Pa Dha Pa — | Ma Ga Re Sa
Lyrics alignment:
E-ri Aa-li Pi-ya Bin | Mo-ra Ji-ya La-ge Na
Antara (Second Part)
Pa Dha Ni Sa' | Ni Dha Pa Ma | Ga Re Sa — | Re Ma Pa —
Dha Pa Ma Ga | Re Sa Re Ma | Pa Dha Pa — | Ma Ga Re Sa
Lyrics alignment:
Aa-vo Mo-re Sai-yan | Aba Mo-se Ra-ha Na Ja-ye
Explanation of the Bandish
This bandish expresses viraha (separation) — the heroine tells her friend that without her
beloved, her heart does not feel at peace. This emotional theme perfectly suits Jaunpuri’s
mood of longing and devotion.
Musically, the bandish shows Jaunpuri characteristics:
• Re–Ma–Pa movement in ascent
• Dha emphasis (Vadi)
• Descending Ma–Ga–Re–Sa phrases
• Pa–Dha–Pa oscillation
In performance, the singer expands it with:
• Bol-taan
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• Sargam
• Taans using komal notes
• Rhythmic improvisation
Aesthetic Feel of Jaunpuri
Listening to Jaunpuri feels like:
• A prayer sung with sincerity
• A devotee calling the divine
• A lover waiting patiently
• A calm yet emotional morning
This is why Jaunpuri is loved in khyal, bhajan, and light classical music.
Conclusion
Raga Jaunpuri is a beautiful late-morning raga from the Asavari thaat, known for its serious
and devotional mood created by komal Ga, Dha, and Ni. Its ascent omits Ga, while the
descent uses all notes, giving it a gentle downward flow. Dha is the Vadi and Ga the
Samvadi, and characteristic phrases like Re Ma Pa, Dha Pa, Ma Ga Re Sa define its identity.
The Drut Khyal bandish “Eri Aali Piya Bin” in Teentaal perfectly reflects Jaunpuri’s emotional
depth. Its notation shows the raga’s typical movements and provides a foundation for
improvisation in fast tempo. Together, the raga description and bandish illustrate the
expressive richness of Hindustani classical music.
6. By giving the descripon of Tala Jhumra also make its notaon with Tha, Dugun and
Chaugun layakaries.
Ans: What is Tala Jhumra?
• Jhumra is a 14-beat cycle (matra) tala, widely used in Hindustani classical music,
especially in Khayal singing.
• It is considered a vilambit (slow tempo) tala, often used to present the alap-like
elaboration of a raga in khayal.
• Because of its slow tempo and long cycle, it allows the artist to explore the raga
deeply, weaving intricate improvisations.
Structure of Jhumra
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• Total beats (matras): 14
• Division (vibhag): 6 vibhags (sections)
• Theka (basic pattern):
𝐷ℎ𝑎 − 𝐷ℎ𝑎 ∣ 𝐷𝑖𝑛 − 𝑇𝑎 ∣ 𝑇𝑖𝑛 − 𝑇𝑖𝑛 ∣ 𝑇𝑎 − 𝑇𝑎 ∣ 𝐷ℎ𝑎 − 𝐷ℎ𝑎 ∣ 𝐷𝑖𝑛 − 𝑇𝑎
Beat Division:
1. Dha
2. Dha
3. Din
4. Ta
5. Tin
6. Tin
7. Ta
8. Ta
9. Dha
10. Dha
11. Din
12. Ta
13. Tin
14. Tin
• The sam (first beat) is very important—it’s where the cycle begins and where
compositions resolve.
• The khali (empty beat) is on the 8th beat (Ta), marked by a wave of the hand instead
of a clap.
Notation of Jhumra in Different Layakaris
1. Tha (Basic Layakari)
This is the simple, straightforward rendering of the theka:
Code
Dha Dha | Din Ta | Tin Tin | Ta Ta | Dha Dha | Din Ta
Each syllable corresponds to one beat, making it easy to follow the 14-beat cycle.
2. Dugun (Double Speed)
Here, each beat is divided into two syllables, doubling the speed:
Code
Dha - Ge Dha - Ge | Din - Na Ta - Na | Tin - Na Tin - Na | Ta - Na Ta - Na | Dha - Ge Dha - Ge |
Din - Na Ta - Na
Now, instead of 14 bols, you have 28 syllables, but the cycle length remains the same.
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3. Chaugun (Quadruple Speed)
Here, each beat is divided into four syllables, quadrupling the speed:
Code
Dha - Ge - Na - Ti Dha - Ge - Na - Ti | Din - Na - Ka - Ta Ta - Na - Ka - Ta | Tin - Na - Ka - Ta Tin
- Na - Ka - Ta | Ta - Na - Ka - Ta Ta - Na - Ka - Ta | Dha - Ge - Na - Ti Dha
Let’s take a deep dive into Tala Jhumra, one of the most majestic talas in Hindustani
classical music, and then explore how its notation is expressed in different layakaris—Tha
(basic), Dugun (double speed), and Chaugun (quadruple speed). I’ll explain this in a flowing,
narrative style so it feels natural and easy to grasp, even if you’re new to the subject.
Understanding Tala Jhumra
In Hindustani classical music, a tala is the rhythmic cycle that anchors a performance.
Among the many talas, Jhumra holds a special place.
• Structure: Jhumra is a 14-beat cycle (matra).
• Tempo: It is usually played in vilambit laya (slow tempo), making it ideal for khayal
singing, where the artist can explore the raga with depth and patience.
• Mood: Because of its long cycle, Jhumra creates a meditative atmosphere, allowing
the singer or instrumentalist to weave intricate improvisations before returning to
the sam (first beat).
Theka (Basic Pattern) of Jhumra
The theka is the basic set of bols (syllables) played on the tabla to represent the tala. For
Jhumra, the theka is:
Code
Dha - Dha | Din - Ta | Tin - Tin | Ta - Ta | Dha - Dha | Din - Ta
This covers the 14 beats, divided into 6 vibhags (sections).
• Sam (first beat): Dha
• Khali (empty beat): On the 8th beat (Ta), marked by a wave of the hand instead of a
clap.
Notation in Different Layakaris
Layakari refers to the variation of speed in relation to the basic tempo. Let’s see how
Jhumra looks in Tha, Dugun, and Chaugun.
1. Tha (Basic Speed)
This is the straightforward version, with one bol per beat:
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Dha Dha | Din Ta | Tin Tin | Ta Ta | Dha Dha | Din Ta
Each syllable corresponds to one matra, making it easy to follow the 14-beat cycle.
2. Dugun (Double Speed)
Here, each beat is divided into two syllables, doubling the speed:
Dha - Ge Dha - Ge | Din - Na Ta - Na | Tin - Na Tin - Na | Ta - Na Ta - Na | Dha - Ge Dha - Ge |
Din - Na Ta - Na
Now, instead of 14 bols, you have 28 syllables, but the cycle length remains the same.
3. Chaugun (Quadruple Speed)
Here, each beat is divided into four syllables, quadrupling the speed:
Dha - Ge - Na - Ti Dha - Ge - Na - Ti | Din - Na - Ka - Ta Ta - Na - Ka - Ta | Tin - Na - Ka - Ta Tin
- Na - Ka - Ta | Ta - Na - Ka - Ta Ta - Na - Ka - Ta | Dha - Ge - Na - Ti Dha - Ge - Na - Ti | Din -
Na - Ka - Ta Ta - Na - Ka - Ta
This creates 56 syllables in the same 14-beat cycle, giving a dense and energetic feel.
Why Jhumra is Important
1. Depth of Expression: Its slow tempo allows singers to explore ragas with great detail
and emotional depth.
2. Challenge for Musicians: The long cycle requires precision and mastery to land
correctly on the sam.
3. Versatility: It can be expanded into different layakaris, showcasing rhythmic
creativity.
4. Tradition: Many great khayal compositions are set in Jhumra, making it a
cornerstone of Hindustani music.
Example in Performance
Imagine a khayal singer presenting Raag Yaman in Jhumra:
• They begin slowly, elaborating the raga with long, flowing notes.
• The tabla plays the 14-beat Jhumra theka, anchoring the rhythm.
• As the performance progresses, the singer and tabla player may shift into dugun or
chaugun layakari, creating excitement and variety.
Conclusion
Tala Jhumra is a majestic 14-beat cycle, beloved in Hindustani classical music for its depth
and expansiveness. Its structure allows musicians to explore ragas with patience and
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creativity. By practicing its notation in Tha, Dugun, and Chaugun layakaris, students learn
not only rhythm but also the art of balancing speed, precision, and expression.
SECTION-D
7. Give the contribuon of Vidhushi Girija Devi towards Indian Classical music, with her
Biography.
Ans: Early Life and Musical Background
Vidushi Girija Devi was born on 8 May 1929 in Varanasi (Banaras), Uttar Pradesh, a city
famous for spirituality and music. She was born into a cultured family that loved music. Her
father, Ramdeo Rai, was deeply interested in classical music and encouraged his daughter’s
talent from a very young age—something uncommon in those days when girls from
respectable families were not encouraged to perform publicly.
She began learning music at the age of five under Pandit Sarju Prasad Mishra, and later
trained with Pandit Chand Misra. Under their guidance, she mastered both Khyal (classical
vocal form) and Purab-Ang Thumri, the delicate and expressive style of eastern Uttar
Pradesh and Bihar.
Even as a child, Girija Devi showed extraordinary musical sensitivity. By age nine, she even
appeared in a Hindi film as a singer-actor—an early sign of her artistic confidence.
Struggle and Breakthrough
In traditional society, women from noble families were expected to avoid stage
performances. After marriage, Girija Devi also faced restrictions from her husband’s
conservative family. However, her passion for music was stronger than social barriers.
In 1949, she made her first major public performance on All India Radio (AIR), Allahabad.
This was a turning point. Gradually, she began performing in concerts and music
conferences across India, gaining recognition for her rich voice and emotional depth.
Her courage helped break social stigma against women performers and opened doors for
future female musicians.
Mastery of Thumri and Semi-Classical Forms
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Girija Devi’s greatest contribution lies in preserving and popularizing the Purab-Ang Thumri
tradition of Banaras. Thumri is a semi-classical form that emphasizes emotion, poetry, and
expression (bhava) rather than strict technicality.
She also excelled in related forms:
• Dadra
• Kajri
• Chaiti
• Hori
• Jhoola
• Tappa
These genres are deeply connected with seasons, festivals, and folk traditions of North
India. Girija Devi brought them from regional settings to prestigious classical stages.
Her singing style was known for:
• Clear pronunciation of lyrics
• Deep emotional expression
• Graceful ornamentation
• Perfect balance of classical discipline and folk sweetness
Because of this, audiences could feel the meaning of every word she sang.
Role as a Guru and Preserver of Tradition
Girija Devi was not only a performer but also a dedicated teacher. She taught at:
• ITC Sangeet Research Academy, Kolkata
• Banaras Hindu University
She trained many disciples and ensured that the Banaras Gharana Thumri tradition would
continue for future generations. Through teaching, she transformed Thumri from a fading
art into a respected academic discipline.
Bringing Thumri to the World Stage
Another major contribution was taking Thumri beyond India. She performed internationally
in:
• Europe
• USA
• USSR
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• Nepal
• Other countries
Foreign audiences discovered the beauty of Indian semi-classical music through her
performances. She showed that Thumri is not just light music but a refined classical art.
Awards and Recognition
Girija Devi received many prestigious honours for her contribution:
• Padma Shri (1972)
• Padma Bhushan (1989)
• Padma Vibhushan (2016)
• Sangeet Natak Akademi Award
• Sangeet Natak Akademi Fellowship
These awards recognized her as one of India’s greatest classical musicians.
Musical Philosophy and Personality
Girija Devi believed that music must come from the heart. She often said that Thumri is like
a conversation of emotions—love, devotion, longing, and joy expressed through melody.
Despite fame, she remained humble and deeply connected to Banaras culture. Her music
carried the fragrance of the Ganga, temples, and folk life of eastern India.
Legacy
Vidushi Girija Devi passed away on 24 October 2017, but her voice continues to inspire
musicians and listeners. Her legacy includes:
• Reviving and dignifying Thumri on classical stages
• Preserving Banaras semi-classical traditions
• Encouraging women in classical music
• Training future generations
• Popularizing seasonal folk-classical forms
Today, whenever Thumri is sung on a concert stage, her influence is present.
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Conclusion
The life of Vidushi Girija Devi is a beautiful story of talent, courage, and cultural devotion.
Born in Banaras, trained in classical music, and challenged by social restrictions, she rose to
become the Queen of Thumri. Her singing preserved the delicate emotional art of Purab-
Ang Thumri and brought it to global recognition.
Through performances, teaching, and recordings, she ensured that India’s semi-classical
musical heritage would never fade. More importantly, she inspired countless women to
pursue music fearlessly.
8. Throw the light on the contribuon of Guru Gobind Singh Ji towards Indian music.
Ans: Music in Sikh Tradition Before Guru Gobind Singh Ji
• Sikh music, known as Gurbani Sangeet or Gurmat Sangeet, began with Guru Nanak
Dev Ji, who composed hymns in specific ragas.
• Successive Gurus enriched this tradition, using music as a medium to connect with
the divine and to inspire the sangat (community).
• By the time of Guru Gobind Singh Ji, this tradition was already strong, but he
expanded and reshaped it in unique ways.
Guru Gobind Singh Ji’s Musical Contributions
1. Composition of Sacred Hymns
• Guru Gobind Singh Ji composed a vast body of literature, much of which was set to
music.
• His works include the Jaap Sahib, Akal Ustat, Chandi di Var, and Zafarnama, many
of which are recited in rhythmic and musical forms.
• These compositions are filled with energy, devotion, and martial spirit, and when
sung, they inspire courage and faith.
2. Integration of Martial Spirit into Music
• Unlike purely devotional hymns, Guru Gobind Singh Ji’s bani often carried a warrior
ethos.
• Through music, he instilled bravery, discipline, and readiness to fight against
injustice.
• His compositions in Chandi di Var (praising the goddess of power) were often sung in
battle camps to motivate soldiers.
3. Promotion of Dhadi Tradition
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• Guru Gobind Singh Ji encouraged Dhadi singers—balladeers who used instruments
like the dhadd and sarangi to narrate heroic tales.
• These performances combined storytelling and music, keeping alive the memory of
Sikh martyrs and battles.
• This tradition remains strong in Punjab even today, where dhadis sing of valor and
sacrifice.
4. Use of Classical Ragas
• Guru Gobind Singh Ji continued the tradition of composing in classical ragas,
ensuring Sikh music remained rooted in the broader Indian classical system.
• His bani reflects mastery over rhythm and melody, showing his deep understanding
of music as a spiritual science.
5. Encouragement of Collective Singing (Kirtan)
• He emphasized sangat singing together in kirtan, reinforcing unity and devotion.
• Music was not just for individual meditation but for collective inspiration,
strengthening the Khalsa spirit.
Instruments Associated with His Era
• Dhadd and Sarangi: Used by dhadi singers to narrate heroic ballads.
• Nagara (war drum): Played in battle camps to energize soldiers.
• Rabab and Taus: String instruments used in kirtan, continuing traditions from earlier
Gurus.
Impact on Indian Music
1. Fusion of Devotion and Valor: Guru Gobind Singh Ji’s bani brought together
spirituality and martial energy, creating a unique musical ethos.
2. Preservation of Oral Traditions: By encouraging dhadi ballads, he ensured that
music carried history and values across generations.
3. Strengthening Gurmat Sangeet: His contributions enriched Sikh kirtan, making it a
distinct stream within Indian classical music.
4. Cultural Identity: Music under Guru Gobind Singh Ji became a tool of resistance,
identity, and empowerment for Sikhs during times of persecution.
Critical Reflection
• Guru Gobind Singh Ji’s approach to music was not just aesthetic—it was purposeful.
• His compositions inspired devotion, courage, and unity, showing how music can be
both spiritual and political.
• While earlier Gurus emphasized mystical devotion, Guru Gobind Singh Ji added the
dimension of martial spirit, making Sikh music a force of resilience.
Conclusion
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Guru Gobind Singh Ji’s contribution to Indian music lies in his ability to use sound as a
weapon of the spirit. His hymns, ballads, and encouragement of dhadi traditions
transformed Sikh music into a medium of devotion, courage, and collective identity.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
