Easy2Siksha

GNDU Question Paper-2022

Ba/BSc 5

Semester

MUSIC (Vocal)

Time Allowed: 3 Hrs. Maximum Marks: 50

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section.

SECTION-A

1. Write in detail about the merits and demerits of notation system.

2. Write in brief about the following:

(i) Tappa

(ii) Thumari.

SECTION-B

3. Throw light on the life and contribution of Surinder Kaur Ji.

4. Explain in detail about the Folk Music of Punjab.

SECTION-C

5. Write single and double Laykari of Tala Tilwada.

6. Write the notation of Chota Khayal of Raag Darbari.

SECTION-D

Easy2Siksha

7. Gurmat Sangeet is purely based on classical singing style. What do you understand by

this statement?

8. Write an essay on Bhakti Sangeet.

GNDU Question Paper-2022

Ba/BSc 5

Semester

MUSIC (Vocal)

Time Allowed: 3 Hrs. Maximum Marks: 50

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section.

SECTION-A

1. Write in detail about the merits and demerits of notation system.

Ans: The notation system in music refers to the written representation of musical sounds. It

allows musicians to communicate how a piece of music should be played or sung. Over

centuries, musical notation has evolved into a complex system that allows for precise

instructions on pitch, rhythm, dynamics, and more. This system has both merits

(advantages) and demerits (disadvantages). Let's explore these aspects in detail.

Merits of the Notation System

1. Preservation of Music Across Time

Easy2Siksha

One of the greatest advantages of the notation system is that it allows music to be

preserved and transmitted across generations. Without notation, the only way to pass down

music would be through oral tradition, which can lead to significant changes or even the loss

of a musical work over time. By writing music down, composers can ensure that their works

are performed as they intended, even centuries later.

• Example: Works of composers like Johann Sebastian Bach, Ludwig van Beethoven,

and Tansen have been preserved in written form, allowing us to enjoy and study

their music even today.

2. Universal Language

Music notation is a universal language that musicians around the world can understand.

Although different cultures have their unique musical styles, the Western music notation

system, in particular, is widely recognized and used globally. This makes it possible for

musicians from different countries and backgrounds to perform the same piece of music.

• Example: A violinist from India and a pianist from the United States can read the

same sheet of music and play the same composition, despite their geographical and

cultural differences.

3. Precision in Performance

Notation allows for great precision in musical performance. It tells musicians exactly which

notes to play, how long to hold them, how loud or soft to play, and even what kind of mood

or expression to convey. This level of detail ensures that musicians can follow the

composer's instructions closely and deliver a performance that aligns with the original vision

of the piece.

• Example: Dynamics markings like forte (loud) and piano (soft), and tempo markings

like allegro (fast) and adagio (slow) provide clear instructions for musicians on how

to perform a piece.

4. Facilitates Complex Compositions

The notation system makes it possible to write down and perform very complex pieces of

music. Orchestral works, for instance, often involve dozens of instruments, each playing

different parts. Without a notation system, coordinating these intricate compositions would

be nearly impossible.

• Example: Symphonies by composers like Beethoven or Gustav Mahler involve

multiple instruments playing together, and the notation system allows conductors

and musicians to synchronize their performance perfectly.

5. Educational Tool

For students of music, learning notation is an essential part of their education. It helps them

understand the structure and theory behind music, which is crucial for their growth as

musicians. Notation teaches concepts such as scales, chords, rhythm, and harmony, making

it a valuable tool for learning.

Easy2Siksha

• Example: Music students often learn to read sheet music alongside learning their

instrument or voice training. This knowledge helps them comprehend more complex

musical ideas and perform with greater accuracy.

6. Creative Freedom for Composers

Notation offers composers the freedom to experiment with new ideas and sounds. By

writing music down, composers can explore various musical forms, structures, and

harmonies, and create intricate works that might be difficult to convey through oral

tradition alone.

• Example: Modern composers often push the boundaries of music by using

unconventional notations to represent new sounds, such as electronic music or

experimental techniques.

7. Collaboration Among Musicians

Musical notation serves as a common reference point for musicians working together. It

enables multiple musicians to collaborate more easily since they all follow the same written

instructions. This is especially important for larger ensembles like orchestras, choirs, and

bands.

• Example: In a symphony orchestra, the conductor uses the musical score to guide

the musicians, ensuring they are all playing together harmoniously.

Demerits of the Notation System

1. Difficulty in Learning

One of the biggest disadvantages of the notation system is that it can be challenging to

learn, especially for beginners. It involves understanding a set of symbols and rules that can

be overwhelming at first. For many aspiring musicians, learning notation can be a slow and

difficult process.

• Example: Learning to read and write music takes time, and some musicians,

particularly in non-classical genres, may prefer to learn by ear rather than spend

years mastering notation.

2. Limited Expression

While notation can convey a lot of information about how a piece should be performed, it

cannot capture every aspect of musical expression. For example, the emotional nuances of a

performance often come from the performer's interpretation, which cannot be fully

captured by written symbols.

• Example: Two musicians can perform the same piece of music but interpret it very

differently. Notation provides guidelines, but the true feeling of the music comes

from how it's played or sung.

3. Restricts Improvisation

Easy2Siksha

In some musical traditions, especially in jazz, folk, and Indian classical music, improvisation

plays a significant role. Notation, by its nature, is fixed and rigid, which can limit the

freedom for musicians to improvise or express themselves creatively in the moment.

• Example: In Gurmat Sangeet, improvisation based on ragas is an essential part of the

performance, and this freedom is not easily captured in traditional Western

notation.

4. Cultural Limitations

The most widely used notation system is based on Western classical music, which means it

may not be well-suited to represent the music of other cultures. Indian classical music,

African drumming, and other non-Western musical traditions often use different systems of

notation or rely heavily on oral tradition, which can make it difficult to adapt Western

notation for these styles.

• Example: The complexities of Indian ragas or African polyrhythms may not be easily

represented by Western notation, leading to potential misinterpretations of the

music.

5. Overemphasis on Reading Skills

In some cases, the focus on reading music can overshadow the development of aural skills,

such as listening and improvising. Musicians who are highly trained in notation may become

overly reliant on written music and struggle to play by ear or engage in spontaneous music-

making.

• Example: Some classical musicians may be able to play a piece perfectly from sheet

music but may have difficulty improvising or playing without the score in front of

them.

6. Static Representation of a Dynamic Art Form

Music is a dynamic and fluid art form, and some argue that notation can never fully capture

the essence of a musical performance. A written score is a static representation of music,

while music itself is always changing with each performance. This disconnect can sometimes

lead to a rigid approach to music, where musicians focus too much on "getting it right"

according to the notation, rather than expressing the music in a natural and dynamic way.

• Example: A live performance often has an energy and spontaneity that is impossible

to convey in a written score. Musicians might interpret the music differently

depending on the mood of the audience, the acoustics of the room, or their own

emotions in the moment.

7. Dependency on Visual Aid

Some musicians become overly dependent on reading music and may struggle to perform

without the score in front of them. This can be a disadvantage, especially in genres where

memorization or improvisation is expected.

Easy2Siksha

• Example: In many traditional folk music settings, musicians play by ear and rely on

their memory, whereas classical musicians often rely on sheet music during

performances.

Conclusion

The notation system has revolutionized the way music is composed, performed, and taught,

offering a level of precision and universality that oral traditions cannot match. However, it is

not without its limitations. Learning to read and write music can be difficult, and notation

may not always capture the full emotional or improvisational potential of a piece.

Additionally, it can be culturally biased towards Western musical traditions, making it less

effective for non-Western music forms.

Despite these challenges, the merits of the notation system—such as its ability to preserve

music, provide precision, and facilitate collaboration—far outweigh its drawbacks for many

musicians. For those in Western classical traditions, the system is invaluable. For musicians

in other traditions, however, alternative methods of learning and performing music, such as

oral transmission and improvisation, remain equally important.

2. Write in brief about the following:

(i) Tappa

(ii) Thumari.

Ans: (i) Tappa

Tappa is a vibrant and fast-paced genre of Indian classical music with a distinct rhythmic and

melodic structure. It has its origins in the folk songs of camel drivers from the Punjab-Sindh

region, who used to sing while traveling long distances across deserts. These songs were

characterized by their rapid and bouncy nature, mirroring the movement of camels, which is

reflected in the music's name, derived from the word “tap,” meaning to bounce or jump.

Tappa was formalized in the late 18th century by Mian Ghulam Nabi Shori (popularly known

as Shori Mian), a court musician under Nawab Asaf-ud-Daulah of Lucknow. Shori Mian

refined the raw energy of the folk form and brought it into the royal courts, blending its

rustic roots with the sophistication of classical music. This transformation resulted in the

Tappa style we know today, which is marked by intricate melodic ornamentation (known as

"taans") and complex rhythmic patterns.

Unlike other classical forms like Dhrupad or Khayal, Tappa’s appeal lies in its liveliness and

speed. The phrases are delivered in rapid succession with minimal pauses, making it highly

challenging for singers. Despite the fast tempo, it maintains a rich emotional depth, often

expressing themes of love, longing, and separation. The poetry of Tappa typically revolves

around romantic and emotional themes, with the lyrics often set in Punjabi or Braj Bhasha,

expressing the feelings of a lover pining for their beloved.

Easy2Siksha

The performance of Tappa requires great vocal dexterity due to its swift and intricate

delivery, with an emphasis on creating a bouncing effect through rapid note transitions. It is

usually performed in ragas like Kafi, Bhairavi, and Desh, and the rhythmic framework is

often set in Sitarkhani or Addha taal (16 beats), providing a lively, pulsating foundation for

the melody.

In modern performances, Tappa is less commonly heard compared to other classical forms,

but it retains a place in the repertoire of classical musicians who enjoy showcasing their

technical prowess and emotional expressiveness through this form.

(ii) Thumri

Thumri is a semi-classical vocal genre in Hindustani music, known for its expressive and

emotional depth. It originated in the courts of North India, particularly in Uttar Pradesh,

during the 18th and 19th centuries. Thumri is often associated with romantic and devotional

themes, especially centered around the love of Radha and Krishna, making it a favorite form

for dancers and singers to explore the nuances of love, separation, and devotion.

The term "Thumri" comes from the Hindi word "thumakna," meaning to walk with a playful

or dancing gait. This reflects the essence of Thumri, which is often accompanied by dance or

dramatic gestures. Unlike more rigid classical forms, Thumri allows for greater

improvisation, making it more flexible and emotionally engaging. The singer focuses on the

mood of the song, often using subtle variations in tempo and melody to evoke the desired

sentiment.

Thumri is traditionally sung in ragas that are light and allow for ornamentation, such as Kafi,

Bhairavi, and Khamaj. It is often set to Taalas like Dadra (6 beats) or Keharwa (8 beats),

providing a gentle rhythmic structure that complements the lyrical and emotive quality of

the genre. Thumri compositions are usually short and are characterized by their free-

flowing, melodic style, which allows the singer to explore the emotional nuances of the text

deeply.

The lyrics of Thumri are often simple and straightforward, focusing on everyday emotions

and situations, like the joy of meeting a lover, the pain of separation, or the yearning for

reunion. These themes are conveyed through vivid imagery and poetic expressions, often

borrowing from the vernacular and folk traditions of North India. Despite its simplicity,

Thumri can convey profound emotional depth, making it a popular form for expressing

delicate and subtle emotions.

One of the key features of Thumri is the use of bol-bant (the splitting of the words of the

lyrics to fit the rhythm) and bol-taan (the rapid improvisation of syllables), which gives the

singer considerable freedom to interpret the text in their own style. This makes each

performance of Thumri unique, as the singer can explore different emotions and nuances

based on their own interpretation of the lyrics.

In the history of Hindustani classical music, Thumri has been closely associated with the

Lucknow and Banaras gharanas (schools of music), both of which have contributed to the

development and popularization of the form. The Lucknow style of Thumri, developed

Easy2Siksha

under the patronage of the Nawabs, is more delicate and lyrical, while the Banaras style is

more robust and earthy, reflecting the folk traditions of the region.

Thumri continues to be a beloved form in Indian classical music, particularly for its ability to

convey deep emotions in a simple yet profound way. Many great musicians, including

Begum Akhtar, Girija Devi, and Shobha Gurtu, have contributed to its popularity, making it

an integral part of the Hindustani classical music repertoire.

In conclusion, both Tappa and Thumri are essential parts of the semi-classical tradition of

Hindustani music. While Tappa is known for its fast-paced, energetic delivery and complex

rhythmic patterns, Thumri is cherished for its emotional depth and lyrical beauty. Both

forms offer unique challenges and opportunities for musicians to showcase their technical

skill and emotional expressiveness, making them enduringly popular in the world of Indian

classical music

SECTION-B

3. Throw light on the life and contribution of Surinder Kaur Ji.

Ans: Surinder Kaur, affectionately known as the "Nightingale of Punjab," was a highly

influential singer whose voice shaped Punjabi folk music for over five decades. Born on

November 25, 1929, in Lahore (now in Pakistan), Surinder Kaur grew up in a family that

valued education, though they were initially reluctant about her pursuit of a singing career.

However, with the support of her brother and later her husband, her extraordinary talent

flourished, allowing her to become one of the most celebrated voices in Punjabi music.

Early Life and Initial Struggles

Surinder Kaur was born into a conservative family, where her love for music initially faced

resistance from her parents. Despite their reluctance, she remained persistent, and her first

public performance occurred in 1943 on All India Radio, Lahore, when she was just 13 years

old. This early experience became a defining moment in her life, solidifying her passion for

music.

Kaur's classical training began under the guidance of Ustad Inayat Hussain, the nephew of

the legendary Ustad Bade Ghulam Ali Khan, and later with Pandit Mani Prasad. These early

lessons shaped her versatile singing style, which combined elements of classical music with

the simplicity and earthiness of Punjabi folk.

Journey to Fame

Her breakthrough came when she moved to Bombay (now Mumbai) in 1948, following her

marriage to Professor Joginder Singh Sodhi, who was an immense source of encouragement

throughout her career. Her debut in Bollywood as a playback singer came in 1948 with the

Easy2Siksha

film Shaheed, where she sang songs like “Badnaam Na Ho Jaaye” and “Hum Kahan Aur.”

However, her true calling lay in folk music, and she soon turned her focus toward Punjabi

songs.

Surinder Kaur is credited with popularizing Punjabi folk songs that celebrate rural life, the

cultural richness of Punjab, and its vibrant traditions. Her voice brought to life many

timeless folk melodies like Lathe Di Chadar, Sarke Sarke Jandiye Mutiare Ni, and

Madhaniyan, which became synonymous with Punjabi weddings and celebrations. Her

music resonated with people across generations, touching upon universal themes of love,

longing, and the bond between families.

Contribution to Punjabi Music

Kaur's contribution to Punjabi folk music is monumental. She pioneered the art of singing

jugni, tappay, and other forms of traditional folk music, while also incorporating modern

elements that made her songs relatable to contemporary audiences. Her songs often drew

from the rich literary traditions of Punjab, using lyrics penned by notable poets like Shiv

Kumar Batalvi, Baba Bulleh Shah, and Amrita Pritam. In her duets, Kaur's partnership with

Asa Singh Mastana was particularly celebrated, with their voices becoming iconic in Punjabi

households.

Apart from folk music, Surinder Kaur was also a prominent performer of kirtan (Sikh

devotional music). Her contribution to Sikh religious music includes singing Gurbani, which

elevated her status as a versatile artist who could transcend genres.

Personal Life and Family Collaborations

Surinder Kaur's personal life was deeply intertwined with her music. Her husband, Professor

Sodhi, often selected the lyrics for her songs and composed music with her, making their

relationship one of mutual artistic respect and collaboration. Later, her daughter, Dolly

Guleria, followed in her footsteps, and together with her granddaughter Sunaini, they

released the album 3 Generations in 1995, which showcased the remarkable legacy of three

generations of female Punjabi singers. The album was a major success and reaffirmed the

cultural significance of her musical lineage.

Recognition and Awards

Surinder Kaur's contribution to Punjabi music was recognized through numerous prestigious

awards. In 1984, she received the Sangeet Natak Akademi Award for her achievements in

Punjabi folk music. Later, in 2002, she was conferred with an honorary doctorate by Guru

Nanak Dev University, Amritsar, acknowledging her exceptional contribution to music and

culture. The Indian government honored her with the Padma Shri, one of India's highest

civilian awards, in 2006, although Kaur lamented that it took so long for her native Punjab to

nominate her for such recognition.

Later Life and Legacy

In the later years of her life, Surinder Kaur moved to Panchkula, near Chandigarh, to remain

close to her roots. Despite health challenges, including a heart attack in 2005, she continued

Easy2Siksha

to be actively involved in music until her final days. She passed away on June 14, 2006, after

battling illness in a New Jersey hospital.

Surinder Kaur's legacy lives on through her immense contribution to Punjabi folk music. Her

timeless melodies continue to be played at festivals, weddings, and cultural events,

cementing her as one of the most beloved figures in Indian music history. She is

remembered not just for her ethereal voice, but for how she gave a voice to the emotions

and stories of rural Punjab. Her impact on Punjabi music has been commemorated in

various forms, including a Doordarshan documentary titled Punjab Di Koyal released after

her death, which received a national award.

Surinder Kaur is not just a musical icon but a symbol of the rich cultural heritage of Punjab.

Her contributions are a testament to her devotion to preserving and promoting Punjabi folk

music, ensuring that the traditions and values of her homeland continue to resonate with

people worldwide.

4. Explain in detail about the Folk Music of Punjab.

Ans: Folk music in Punjab represents the essence of the region's vibrant culture, history,

and daily life. This traditional music has been passed down through generations, reflecting

the social, emotional, and spiritual aspects of the people of Punjab. It covers a wide variety

of themes such as love, longing, bravery, and even humor. Let’s delve into the rich and

diverse world of Punjabi folk music.

Historical Significance and Themes

Punjabi folk music has deep roots in the agricultural and warrior lifestyle of the region.

Punjab, primarily an agrarian society, has music that celebrates the land and the farmer's

life. Folk songs are woven into the life cycle of the people, marking important events like

birth, marriage, and harvest seasons, as well as expressing personal emotions such as love

and sorrow.

Themes of romance are prominent, with many songs narrating timeless love stories like

"Heer Ranjha," "Mirza Sahiban," and "Sohni Mahiwal." These tragic tales have become part

of the cultural identity of Punjab, celebrated in songs that capture the depth of emotional

relationships

Another common theme is heroism, particularly in songs commemorating historical figures

like Bhagat Singh, Udham Singh, and Dulla Bhatti. These folk songs reflect the bravery and

resilience of the Punjabi people, narrating stories of valor and defiance(

Instruments of Punjabi Folk Music

Punjabi folk music is distinctive for its use of various traditional instruments, each

contributing a unique sound. The dhol, a large barrel-shaped drum, is perhaps the most

iconic, known for its loud and rhythmic beats that accompany dances like Bhangra and

Giddha. Other important instruments include the tumbi, a single-stringed instrument that

Easy2Siksha

creates a sharp sound; the sarangi, known for its soulful, deep resonance; and the algoza, a

pair of flutes played simultaneously, creating a rhythmic, melodious harmony

Songs for Every Occasion

Punjab’s folk music is closely tied to the life events of its people. Whether it's a festival,

wedding, or harvest, there’s a song for every occasion. For example, Baisakhi, the harvest

festival, is celebrated with songs and dances such as Bhangra, expressing the joy of a good

harvest. During weddings, songs like Jugni and Boliyan play a significant role, bringing family

members together to celebrate

Folk songs are also a key part of religious celebrations. Sikh spiritual music, or Gurbani,

includes Vaars and Dhadi Jathas, traditionally sung with instruments like the dhadd and

sarangi. This music is central to expressing devotion and reverence in Sikhism

Dance Forms and Folk Music

Punjabi folk music is often accompanied by energetic dance forms, each with its own unique

rhythm and style. Bhangra, traditionally performed by men, is characterized by vigorous

movements that mirror the vibrancy of the music. It originally started as a harvest dance,

symbolizing the joy of farmers during the wheat-cutting season. On the other hand, Giddha,

the women’s dance, is more graceful and involves spinning and clapping, often performed

during festivals like Teeyan and weddings(

Both Bhangra and Giddha are accompanied by songs called Boliyan, which are quick,

rhythmic verses that highlight everyday life or tease the performers in a playful manner.

These dances and their accompanying music continue to hold a special place in Punjab’s

cultural festivities

Modern Influence and Global Reach

In recent times, Punjabi folk music has crossed regional boundaries and gained international

recognition. Traditional songs have been adapted into modern renditions, blending folk

elements with contemporary genres such as pop and electronic music. Songs like Laung

Gawacha and Saddi Rail Gaddi have been remixed and incorporated into DJ sets, wedding

playlists, and even movies, allowing the timeless essence of Punjabi music to reach a global

audience

While these modern interpretations help keep the music alive, they also ensure that the

younger generation stays connected to their cultural roots. The fusion of traditional lyrics

with modern beats has made Punjabi folk music a global phenomenon, appealing to

audiences far beyond India

The Role of Women in Punjabi Folk Music

Women have always played a vital role in preserving and propagating folk music in Punjab.

They are often the carriers of traditional songs, particularly those that pertain to life-cycle

events like childbirth, weddings, and festivals. Songs such as Gidda highlight women’s

voices, celebrating themes of love, freedom, and social aspirations

Easy2Siksha

During the monsoon festival of Teeyan, women sing folk songs expressing joy, longing, and

the anticipation of reunion with loved ones. These songs, passed down orally through

generations, not only entertain but also reflect the emotional lives of Punjabi women,

offering a rare insight into their world

Conclusion

In essence, the folk music of Punjab serves as the heartbeat of the region, capturing the

spirit, emotions, and traditions of its people. Whether it's the joyful rhythms of Bhangra

during harvest festivals or the soulful melodies of love and loss in romantic ballads, Punjabi

folk music resonates deeply with its listeners. As it continues to evolve and adapt to modern

tastes, this music remains a powerful vehicle for cultural expression and identity. Despite

changes, the core of Punjabi folk music remains a timeless and vibrant celebration of life,

connecting people across generations and borders

SECTION-C

5. Write single and double Laykari of Tala Tilwada.

Ans: In Hindustani classical music, the concept of Laykari is integral to understanding

rhythm. Laykari refers to the manipulation of speed (tempo) within a given rhythmic cycle,

or Tala. It essentially involves playing different numbers of beats within a fixed time cycle,

creating complex rhythmic patterns. One of the commonly used Talas for demonstrating

laykari is Tilwada, which has 16 beats.

Tala Tilwada:

Tala Tilwada is a rhythmic cycle made up of 16 beats (matras), divided into four equal

sections of four beats each. It is a slower tempo tala often used in semi-classical forms such

as Thumri and Khayal, allowing for intricate laykari explorations. The beat structure (theka)

of Tilwada is straightforward, giving musicians the flexibility to experiment with rhythmic

variations.

Single Laykari (Ekgun):

In single laykari, also known as Ekgun, the rhythm follows the base tempo of the tala, with

one beat played per matra (beat of the tala). In the case of Tilwada, this means that each

beat or bol is aligned with one matra, keeping it simple and steady. The single laykari is the

foundational rhythm before moving into more complex patterns.

For example:

Copy code

Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha | Dha Tin Tin Ta

Easy2Siksha

This pattern is repeated in a slow, steady tempo, with no extra divisions in the beats.

Double Laykari (Dugun):

Double laykari, known as Dugun, involves playing two beats (bols) in the space of one matra.

This means that for every beat of the basic tala, two distinct sounds are played, doubling the

rhythmic density. In Tilwada, where there are 16 beats, Dugun laykari will consist of 32 bols

(beats) within the same 16-beat cycle.

For instance, using Dugun in Tilwada would look like this:

Copy code

Dha Dha Dhin Dhin | Dha Dha Tin Tin | Ta Ta Dhin Dhin | Dha Dha Tin Tin

In this case, two bols are played within the space of each matra. This not only quickens the

tempo but also adds complexity to the rhythm.

Understanding Laykari in Performance:

Laykari is a tool that allows musicians, especially percussionists (like tabla players), to create

intricate rhythmic designs. It serves as a medium to demonstrate technical prowess and

creativity. In Tilwada, because the tempo is usually slow, musicians have ample time to

develop these patterns and explore more complex forms like Tigun (three beats per matra),

Chaugun (four beats per matra), and beyond.

For vocalists and instrumentalists, laykari adds texture to the performance. The changes in

the speed and complexity of the rhythmic structure create a dynamic interplay between the

rhythm and melody. Particularly in a slow-tempo tala like Tilwada, the use of laykari brings

vibrancy to the composition, allowing for detailed improvisation and ornamentation.

Laykari Beyond Dugun:

Once a performer is comfortable with Ekgun (single) and Dugun (double), they may explore

more advanced laykari such as:

1. Tigun: Three beats played within one matra.

2. Chaugun: Four beats per matra.

3. Aad and Kuaad Laykari: These involve fractional divisions of beats, such as 1.5 or

even 9/4.

These variations can be applied creatively in Tilwada and other talas, each offering unique

rhythmic possibilities for the musician to explore.

In summary, single and double laykari in Tala Tilwada serve as the building blocks for

rhythmic exploration in Hindustani classical music. Starting with a simple one-beat-per-

matra structure, performers can gradually increase complexity, eventually playing two,

three, or more beats within the same cycle, demonstrating both technical skill and artistic

expression

Easy2Siksha

6. Write the notation of Chota Khayal of Raag Darbari.

Ans: Raag Darbari, also known as Raag Darbari Kanada, is one of the most profound and

majestic ragas in Indian classical music. It is traditionally performed in the night (third

prahar), and is known for its deep, serious mood, often evoking feelings of devotion, pathos,

and grandeur. The raga was believed to have been created by Miyan Tansen, a legendary

musician in the court of Emperor Akbar.

Structure of Raag Darbari:

1. Thaat: Asavari (a parent scale).

2. Jati: Sampurna-Sampurna (contains all seven notes in both ascending and

descending scales).

3. Vadi-Samvadi: The primary and secondary notes are Rishabh (Re) and Pancham (Pa).

4. Time of Performance: This raga is usually performed during the late night, around

midnight.

5. Mood: It evokes serious emotions, often linked with devotion and longing.

Notes in Raag Darbari:

• Arohana (Ascending): S R g m P d n S'

• Avarohana (Descending): S' d n P m P g m R S

In Raag Darbari, certain notes like Gandhar (Ga) and Dhaivat (Dha) are rendered with

oscillation (gamak), which adds to the emotional intensity of the raga. These oscillations are

important to maintain the raga’s traditional character.

Chota Khayal in Raag Darbari:

A Chota Khayal is a type of composition in Hindustani classical music that is usually set to

fast tempo (drut laya) and is often performed after a slower, more elaborative Bada Khayal.

The Chota Khayal in Raag Darbari typically focuses on the raga’s melodic beauty, exploring

its notes with speed while still adhering to its serious mood.

Example of Notation in Raag Darbari (Chota Khayal):

• Bandish (Composition): "Baat Na Kar Radha Tanarang San"

• Taal: Trital (16 beats), a common rhythmic cycle in Hindustani music.

• Theme: The composition revolves around the playful conversation between Radha

and Krishna, but rendered in a serious, deep tone in line with the raga’s mood.

The notation of Raag Darbari involves a heavy use of meend (glides between notes), gamak

(oscillations), and elongated phrases, especially in the lower octave (mandra saptak). The

melody often stays close to the lower notes, giving it a weighty and solemn feel. The Chota

Easy2Siksha

Khayal compositions typically have shorter improvisational sections than Bada Khayal,

focusing on the faster development of the raga.

Performance Techniques:

In Raag Darbari, the emphasis on specific notes, especially the oscillation of Gandhar and

Dhaivat, gives the raga its distinctive sound. The improvisation or elaboration (vistar) in the

Chota Khayal often stays within the framework of the raga but is more rapid and concise

than in slower forms. The artist may employ various ornamentations like:

• Meend: Gliding smoothly from one note to another.

• Gamak: Rapid oscillation between notes to highlight emotional depth.

• Sparsh (Touch): A subtle touch of a note before quickly moving to the next one.

The taal (rhythmic cycle) plays a significant role in the Chota Khayal. For example, in Trital

(16 beats), the melody interacts closely with the rhythmic cycle, creating a beautiful

synchronization of melody and rhythm.

Simplified Example of Notation (Chota Khayal in Raag Darbari):

plaintext

Copy code

S R g ; m P ; d n P ;

S' d n P ; m P ; g m R ;

R S ; ,n ,d ,n S ;

This shows a typical progression in Raag Darbari. Notice the frequent return to Pancham

(Pa) and the use of Gandhar (Ga) and Dhaivat (Dha) with oscillations.

Importance of Raag Darbari:

Raag Darbari is a central raga in both classical music performances and film music. Its

grandeur makes it suitable for portraying royal and devotional themes. It is also one of the

most complex ragas due to the intricacy of its note rendering, particularly in the way Komal

Gandhar and Komal Dhaivat are used.

For students learning this raga, it's essential to focus on mastering the oscillations of the key

notes and practicing with both slow and fast compositions like the Chota Khayal to

understand the raga’s full emotional range

SECTION-D

Easy2Siksha

7. Gurmat Sangeet is purely based on classical singing style. What do you understand by

this statement?

Ans: The statement "Gurmat Sangeet is purely based on classical singing style" refers to the

fact that Gurmat Sangeet, which is the Sikh devotional music tradition, is deeply rooted in

Indian classical music. This means that it follows the rules, structures, and philosophies of

traditional classical music, particularly the use of ragas and taalas (melodic and rhythmic

patterns). Let’s break it down:

What is Gurmat Sangeet?

Gurmat Sangeet is a sacred form of music developed as part of Sikhism, which aims to

deliver spiritual messages through music. It involves the singing of shabads (hymns) from

the Guru Granth Sahib (the Sikh holy scripture) in specific ragas prescribed in the scripture.

The practice was first established by Guru Nanak, the founder of Sikhism, and continued by

his successors. Historically, it holds great importance in the Sikh tradition as music was

considered a powerful medium to connect with the Divine.

Connection with Classical Music

Gurmat Sangeet's reliance on classical singing style means that it adheres to the raga

system, just like Indian classical music. Each raga is associated with particular moods and

times of the day, which enhances the spiritual experience for the listener and the singer. In

this tradition, specific ragas are used to convey the emotions embedded in the Gurbani (the

divine words), which helps evoke the intended spiritual atmosphere.

For example, just like classical Indian music, Gurmat Sangeet employs a vast repertoire of

ragas, some of which are:

1. Raga Asa – Often sung in the early hours of the day, symbolizing hope.

2. Raga Bhairav – Meant to convey devotion and calmness.

3. Raga Dhanasri – Associated with joy and peace, commonly used for the midday.

By incorporating these ragas into the singing of hymns, Gurmat Sangeet uses music to

communicate and enhance the teachings of the Gurus. This approach is not just about

artistic expression, but also about creating a spiritual experience that aligns with Sikh

principles.

Instruments and Their Role

Historically, Gurmat Sangeet was performed using classical instruments such as the rabab,

taus, sarangi, and tabla. The use of these instruments further strengthens the connection to

the classical music tradition, as they are designed to bring out the nuances of the ragas. The

instruments are not only for musical accompaniment but also help create a meditative and

spiritual environment during the performance.

Why is it Called “Purely Based on Classical Singing”?

Easy2Siksha

This phrase highlights that the essence of Gurmat Sangeet lies in preserving the sanctity and

precision of classical music techniques. While modern forms of music may have more

flexibility and fusion styles, Gurmat Sangeet maintains a strict adherence to traditional

classical forms. In this way, the spiritual nature of the hymns is preserved. The fact that it

remains so closely tied to classical music principles underscores the devotional purity that

Gurmat Sangeet aims to uphold.

However, some modern adaptations of Sikh music have tried to incorporate other genres

like Qawwali or even fusion with Western instruments, but traditional Gurmat Sangeet

remains distinctly classical in its approach, following the patterns set by the Gurus

themselves

Importance of Classical Elements in Spirituality

The use of classical music elements, especially ragas and taalas, is not just a technical aspect

but is deeply linked to the spiritual impact of the music. In classical music, each raga evokes

a specific mood or emotion, known as rasa. Gurmat Sangeet uses this concept to evoke

spiritual feelings such as devotion, surrender, and connection to the Divine. Singing in

classical styles allows practitioners and listeners to experience the spiritual message of the

Gurbani more deeply.

For instance, singing a hymn in Raga Asa in the morning is meant to inspire feelings of hope

and positivity as one starts their day. This aligns with the broader goals of Sikhism, which

focus on self-discipline, devotion, and inner peace.

Modern Relevance and Challenges

Despite its roots in classical music, Gurmat Sangeet faces challenges today as more

contemporary and commercial forms of music gain popularity. Some argue that traditional

Gurmat Sangeet is losing its place in Sikh worship as younger generations gravitate towards

more modern or accessible musical forms. However, efforts have been made to revive and

preserve this art form in its classical style, as it is viewed as an essential aspect of Sikh

cultural and spiritual identity

In conclusion, Gurmat Sangeet being "purely based on classical singing style" means that it

upholds the traditions of Indian classical music in its structure and performance. The ragas

and taalas employed in Gurmat Sangeet aim to bring out the spiritual essence of the

Gurbani, maintaining a deep connection with the Divine through music. This form of music is

not just a mode of artistic expression but a vital spiritual practice designed to align one’s

soul with the teachings of the Gurus.

8. Write an essay on Bhakti Sangeet.

Ans: Essay on Bhakti Sangeet

Introduction to Bhakti Sangeet

Easy2Siksha

Bhakti Sangeet, often translated as devotional music, is an essential part of Indian musical

traditions. This genre of music is deeply intertwined with the Bhakti movement, a spiritual

and social reform movement that took place between the 7th and 17th centuries. Bhakti

Sangeet aims to express devotion and love for God through simple, heartfelt lyrics and

melodies. This form of music is meant to connect individuals directly with the divine, cutting

through complex rituals, and fostering a personal, emotional relationship with God.

The Bhakti movement itself rejected orthodox rituals and the caste system, advocating for

equality and a direct connection with God. In this context, Bhakti Sangeet served as a

powerful medium for spreading the movement’s ideals, bringing people from different

walks of life together in a common spiritual pursuit.

Forms of Bhakti Sangeet

Bhakti Sangeet manifests in several musical forms, the most common being Bhajans and

Kirtans. Each form has its own unique characteristics and serves different purposes in

devotional practices.

1. Bhajan: A Bhajan is a simple, melodious song expressing love and devotion to a

deity. It is often sung in temples, homes, or during gatherings. Bhajans have roots in

both North and South Indian musical traditions, and they are particularly well-known

for their use of simple language and repetition, which makes them accessible to

everyone. Poets like Surdas, Tulsidas, Meera Bai, and Kabir have written some of the

most revered Bhajans, which are still sung today. These poems often use common,

everyday experiences to convey profound spiritual messages. Bhajans are

participatory in nature, often encouraging the audience to sing along or clap, making

them a communal experience

Kirtan: While similar to Bhajans, Kirtans have a more structured format and are

often sung as a call-and-response chant. Kirtans are particularly popular in North

Indian devotional practices and are performed in temples or during religious

gatherings. The main feature of Kirtan is its repetitive, chant-like structure, which

fosters a meditative atmosphere. Often, Kirtans are accompanied by musical

instruments like harmoniums, tablas, and cymbals

2. Dhrupad: In the Northern tradition, Bhakti Sangeet also found expression through

the Dhrupad genre of Hindustani classical music. Dhrupad is characterized by its

solemn, slow tempo and deep spiritual undertones. While it is one of the oldest

forms of Indian classical music, Dhrupad was also used to convey devotional

messages during the Bhakti movement. Even today, Dhrupad is performed in

temples and is highly respected as a form of spiritual expression

3. Kriti: In South India, Bhakti Sangeet took the form of Kriti, which evolved from the

Keertanas (devotional songs) of saints like Purandaradasa. Kriti songs have a

structured format consisting of three parts: Pallavi, Anupallavi, and Charanam. These

songs are often performed in classical Carnatic music concerts but are rooted in

devotion

Easy2Siksha

Themes and Influence of Bhakti Sangeet

Bhakti Sangeet primarily revolves around themes of surrender, love, and devotion to God.

The lyrics are composed in regional languages, making them more accessible to the masses.

The goal is to cultivate feelings of Karuna (compassion), Prema (love), and Saranagati

(surrender) toward the divine. For example, many Bhajans describe the relationship

between the devotee and God as one of a child to a parent, a lover to a beloved, or a

servant to a master.

This music genre played an essential role in spreading the message of equality and unity.

The Bhakti poets, including Kabir and Meera Bai, emphasized that God resides in every

individual, regardless of caste, religion, or social status. The songs became a unifying force,

bringing together people from different communities, languages, and regions.

Bhakti Sangeet also transcended religious boundaries. For example, Sikhism incorporated

elements of Bhakti through Shabad Kirtan, devotional songs sung in Gurdwaras. Similarly, in

the Vallabhacharya tradition of Pushti Marg, a unique form of Bhakti music called Samaj

Gayan evolved. This tradition also focuses on communal singing, reflecting the collective

nature of Bhakti worship

Bhakti Sangeet in Modern Times

Bhakti Sangeet continues to be a significant part of Indian spiritual life today. Artists like

Lata Mangeshkar and Anup Jalota have popularized Bhajans, releasing albums that reach a

wide audience. These Bhajans may not always conform to traditional ragas or classical

formats, but they retain their core purpose of fostering devotion.

Additionally, Bhakti Sangeet has found a place in Indian classical concerts, often performed

at the end of a recital to create a calming, spiritual atmosphere. Although the form of the

music may have evolved, its essence remains the same—connecting individuals with the

divine.

Conclusion

Bhakti Sangeet is not just a musical form but a spiritual practice that has shaped the

devotional culture of India for centuries. By simplifying complex philosophical ideas into

accessible lyrics and tunes, it has allowed people from various backgrounds to participate in

a shared spiritual experience. Whether in the form of Bhajans, Kirtans, or Dhrupad, Bhakti

Sangeet has transcended time and continues to be a vital part of religious and cultural

expression in India.

Note: This Answer Paper is totally Solved by Ai (Artificial Intelligence) So if You find Any Error Or Mistake . Give us a

Feedback related Error , We will Definitely Try To solve this Problem Or Error.