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GNDU Question Paper-2024
B.A 5
th
Semester
MUSIC (Vocal)
Time Allowed: Three Hours Max. 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. All questions carry equal marks.
SECTION-A
1. What is Notation System? Write its development and merits & demerits in Indian
Music.
2. What do you mean by 'Tappa' in Indian Classical Music ? Give your views about Thumri
Gayaki.
SECTION-B
3. Define Folk Music and also write in detail about Folk Music of Punjab.
4. Write down the life and work of Pt. Dalip Chander Bedi Ji.
SECTION-C
5. Give description of Raga Adana and write in notation of a Drut Khayal in Raga Darbari.
6. Write in notation Tilwara Taal in single and double layakaries along with its description.
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SECTION-D
7. What is Gurmat Sangeet? Write in detail about the Hindustani Classical Music gayan
shallies which are used in Gurmat Sangeet.
8. Evaluate the contribution of Sri Guru Arjun Dev ji towards Indian Music.
GNDU Answer Paper-2024
B.A 5
th
Semester
MUSIC (Vocal)
Time Allowed: Three Hours Max. 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. All questions carry equal marks.
SECTION-A
1. What is Notation System? Write its development and merits & demerits in Indian
Music.
Ans: Notation System in Indian Music: Development, Merits, and Demerits
Imagine walking into a music classroom centuries ago in India. There are no written notes,
no sheet music like we see today. Instead, the air is filled with the rich resonance of a sitar,
the rhythmic clapping of tabla, and the soulful hum of a vocalist repeating the melody.
Students are learning by listening, observing, and imitating the teacher. Every note, every
pause, every subtle inflection is passed down orally from guru to disciple, forming the
backbone of Indian classical music for generations.
This is where the story of the notation system begins—a journey to capture the beauty of
music in symbols, making it easier to teach, learn, and preserve across time and distance.
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What is a Notation System?
A notation system in music is essentially a method of writing down music in symbols so that
it can be read and performed without relying solely on memory. Think of it as a “map” of
music. Just as a map guides a traveler to a destination, a notation system guides musicians
through melody (raga) and rhythm (tala).
In Indian music, the notation system helps indicate which notes to sing or play, their
duration, the rhythm, and sometimes even the mood of the music. This allows music to
transcend generations without losing its essence.
Development of Notation System in Indian Music
The evolution of musical notation in India is both fascinating and gradual. Unlike Western
music, which developed a formal staff-based notation system early on, Indian music relied
on oral tradition for centuries. Let’s explore its development in a story-like manner:
1. Ancient Oral Tradition
In the earliest days, music was transmitted orally. Gurus (teachers) and shishyas (students)
relied on imitation, listening, and memorization. For example, a guru would sing a raga,
and the student would repeat it until perfect. This method preserved subtle nuances such as
microtones (shruti) and ornamentations (gamakas), which are difficult to capture on paper.
The Vedic chants, dating back thousands of years, were also transmitted orally. To ensure
accuracy, priests developed mnemonic syllables to represent different pitches and
intonations—an early form of musical notation.
2. Introduction of Syllables: Solmization
Over time, Indian music formalized certain syllables to represent notes, much like Western
solfege (Do, Re, Mi…). In India, this system is called Sargam:
• Sa – Shadja
• Re – Rishabh
• Ga – Gandhar
• Ma – Madhyam
• Pa – Pancham
• Dha – Dhaivat
• Ni – Nishad
These syllables were easy to memorize, teach, and chant, providing the first step towards
written notation.
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3. Early Written Notation
Around the 16th and 17th centuries, scholars and musicians began writing musical treatises
such as the Sangita Ratnakara by Sarangadeva. These texts included symbolic
representations of notes and rhythmic patterns. However, these were mostly descriptive,
guiding performers rather than giving exact timings or sequences like modern notation.
4. Modern Notation in the 20th Century
With the advent of printing technology and influence from Western music, Indian musicians
began developing modern staff and Sargam-based notations. Two main systems emerged:
• Bhatkhande Notation: Developed by Vishnu Narayan Bhatkhande, this system uses
numbers for notes and symbols for duration. It became widely popular in
Hindustani classical music.
• Paluskar Notation: Developed by Vishnu Digambar Paluskar, it emphasized clarity for
educational purposes and notation for talas.
Modern notation allows compositions to be written in a precise sequence, including notes,
tempo, and rhythm, making it accessible to students far from the guru.
Merits of Notation System in Indian Music
The notation system brought several advantages to the world of Indian music:
1. Preservation of Music: Once music is written down, it can be preserved accurately
for future generations. Classical compositions, which otherwise risked fading from
memory, are now documented.
2. Easier Learning: Beginners can learn from books and notation instead of relying
solely on a teacher. It provides a structured way to practice notes and rhythm
systematically.
3. Standardization: Notation helps maintain uniformity in the way a raga or
composition is performed across regions, reducing variations caused by oral
transmission alone.
4. Facilitates Research: Scholars can analyze compositions, compare versions, and
study music history using written records.
5. Global Exchange: Notation enables Indian music to be shared internationally.
Musicians worldwide can perform Indian compositions without being trained in the
oral tradition.
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Demerits of Notation System in Indian Music
However, notation in Indian music also has its limitations, primarily because Indian classical
music relies heavily on improvisation and microtones:
1. Loss of Nuances: Written notes cannot fully capture gamakas (ornamentations),
shrutis (microtones), and subtle variations that are essential to the mood of Indian
ragas.
2. Rigid Learning: Students may become too dependent on written notation, reducing
the emphasis on listening skills, creativity, and guru-shishya learning, which are the
heart of Indian music.
3. Incomplete for Improvisation: Indian music is dynamic and improvisational.
Notation often records only the basic melody and rhythm, leaving much of the
performance aspect unexplained.
4. Regional Differences: Different schools (gharanas) have unique styles that notation
cannot fully represent. Writing a raga from one gharana may not reflect the subtle
differences of another.
A Human Perspective
Imagine a young student in Punjab in the 21st century opening a book containing notation
for a raga that was composed hundreds of years ago. By reading the notes, she can sing a
melody composed by her ancestors, thousands of miles and generations away. Yet, when
she sits with a guru, she learns to add the nuances, the tiny slides, and emotional depth that
the notation alone cannot convey.
This balance between written preservation and oral tradition is what makes Indian music
both timeless and alive. The notation system acts like a skeleton—strong, stable, and
structured—while improvisation adds the flesh, giving it life and soul.
Conclusion
The notation system in Indian music is a remarkable bridge between the ancient oral
tradition and modern teaching methods. Its development from mnemonic syllables, through
descriptive treatises, to modern staff-based systems has helped preserve, teach, and
globalize Indian music.
While its merits include preservation, easier learning, and global reach, its demerits remind
us that notation cannot replace the magic of live teaching, listening, and improvisation.
The heart of Indian music still beats strongest in the interaction between guru and student,
where the music is felt, lived, and transformed in real-time.
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In essence, the notation system is both a gift and a tool—it preserves the past, guides the
present, and inspires the future. It ensures that even as Indian music evolves, the soul of its
tradition never fades.
2. What do you mean by 'Tappa' in Indian Classical Music ? Give your views about Thumri
Gayaki.
Ans: Imagine a camel caravan moving slowly across the sandy tracks of Punjab. The riders,
to pass the time and to match the rhythm of the camel’s uneven gait, begin to sing. Their
songs are short, quick, full of leaps and jerks—imitating the bouncing motion of the ride.
These rustic tunes, born in the desert, eventually travelled into the royal courts of North
India. There, under the genius of musicians like Mian Ghulam Nabi Shori (Shori Miyan) in
the 18th century, they were polished, refined, and transformed into a semi-classical form of
Hindustani music called Tappa.
This story beautifully shows how Indian music often evolves: the raw energy of folk
becomes the refined jewel of classical or semi-classical art. And just as Tappa grew out of
folk roots, another form—Thumri—emerged from the soil of folk and devotional traditions,
blossoming into one of the most expressive styles of Hindustani music.
Let’s explore both: first, what Tappa means, and then, the essence of Thumri gayaki.
What is Tappa in Indian Classical Music?
1. Definition and Character
• Tappa is a semi-classical vocal form of Hindustani music.
• Its hallmark is its fast, intricate, and jerky taans (swift melodic runs), which give it a
bouncing quality.
• The word Tappa itself comes from the Punjabi word tappana, meaning “to jump or
bounce.”
So, unlike the slow, meditative unfolding of a khayal or dhrupad, Tappa is quick, restless,
and full of energy.
2. Origin
• Tappa originated from the folk songs of camel riders in Punjab.
• These songs were rhythmic, short, and full of leaps, reflecting the camel’s gait.
• Shori Miyan, a court musician in Lucknow, adapted these folk tunes into a refined
semi-classical form. He introduced complex taans and made Tappa suitable for
performance in royal courts.
3. Language and Themes
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• Most Tappas are in Punjabi and Sindhi dialects, though later they spread to Bengal
and other regions.
• The themes are usually romantic—expressing the joys and sorrows of love, often in
the voice of a lover or beloved.
4. Musical Features
• Tempo: Always sung in drut laya (fast tempo).
• Structure: Short compositions, but packed with intricate taans.
• Ornamentation: Heavy use of murkis (quick turns), zamzamas (fast oscillations), and
gamak.
• Improvisation: Limited compared to khayal; the focus is on agility and speed.
5. Mood
Tappa is playful, restless, and passionate. It conveys the emotional outbursts of a lover—
sometimes joyful, sometimes anguished, but always intense.
Thumri Gayaki: The Soul of Expression
Now, let’s turn to Thumri, another semi-classical form, but very different in mood and style.
1. Definition and Character
• Thumri is a semi-classical vocal style known for its expressive, romantic, and
devotional qualities.
• Unlike Tappa, which is about speed and agility, Thumri is about bhava (emotion) and
abhinaya (expression).
• It is often called the “queen of light classical music.”
2. Origin
• Thumri developed in the courts of Lucknow and Banaras during the 18th and 19th
centuries.
• It was closely linked with dance traditions, especially Kathak, where the dancer
would enact the emotions of the song.
3. Language and Themes
• Thumris are usually in Braj Bhasha, Awadhi, or Hindi dialects.
• The themes are mostly romantic and devotional, often revolving around the love of
Radha and Krishna.
• They express longing (viraha), union (milan), teasing (nok-jhok), or devotion.
4. Musical Features
• Flexibility: Thumri allows freedom to move outside the strict boundaries of a raga.
• Talas: Commonly set in dadra (6 beats) or keherwa (8 beats).
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• Ornamentation: Rich use of murkis, meends (glides), and bol-banav (elaborating on
words).
• Improvisation: Focuses on emotional elaboration rather than technical virtuosity.
5. Styles of Thumri
• Poorab Ang (Banaras style): Slow, expressive, devotional.
• Lucknow Ang: More dance-oriented, lighter, and playful.
Comparing Tappa and Thumri
Aspect
Tappa
Thumri
Origin
Folk songs of camel riders
(Punjab)
Court traditions of Lucknow &
Banaras
Tempo
Always fast (drut laya)
Flexible, often medium or slow
Focus
Agility, taans, speed
Emotion, expression, bhava
Language
Punjabi, Sindhi
Braj, Awadhi, Hindi
Themes
Romantic passion, intensity
Romantic, devotional, playful
Mood
Restless, fiery, passionate
Tender, expressive, soulful
Improvisation
Limited, technical
Expansive, emotional
My Views on Thumri Gayaki
Thumri is one of the most human forms of Hindustani music. While khayal dazzles with its
intellectual depth and Tappa excites with its speed, Thumri touches the heart with its
simplicity and emotion.
• Emotional Power: Thumri is not about showing off technical skill but about making
the listener feel. A single phrase sung with the right emotion can move an audience
to tears.
• Connection with Dance: Its link with Kathak makes it a living bridge between music
and movement. The dancer’s gestures and the singer’s voice together create a
complete picture of love and devotion.
• Accessibility: Because it is less rigid than khayal, Thumri is accessible to wider
audiences. Even someone unfamiliar with ragas can enjoy its sweetness.
• Cultural Significance: Thumri preserves the poetry of Braj and Awadhi, keeping alive
the lyrical traditions of Krishna bhakti.
In my view, Thumri is like a conversation between the singer and the listener—intimate,
personal, and full of feeling. It is not about grandeur but about closeness, not about rules
but about emotions.
Story Analogy
Think of Tappa and Thumri as two different kinds of fire.
• Tappa is like a spark that leaps suddenly—bright, quick, and intense.
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• Thumri is like a slow-burning flame—warm, steady, and glowing with emotion.
Both are beautiful, both are necessary, and both enrich the garden of Hindustani music in
their own way.
Chief Takeaways
1. Tappa is a semi-classical form, fast and jerky, born from Punjabi folk songs, refined
by Shori Miyan.
2. It is marked by speed, agility, and romantic passion.
3. Thumri is another semi-classical form, expressive and emotional, rooted in Lucknow
and Banaras traditions.
4. It emphasizes bhava and abhinaya, often linked with dance and devotional poetry.
5. Together, Tappa and Thumri show how Hindustani music balances technical
brilliance with emotional depth.
Conclusion
In the grand tapestry of Indian classical music, Tappa and Thumri are like two colorful
threads. Tappa brings the energy of folk and the brilliance of speed, while Thumri brings the
tenderness of emotion and the intimacy of expression. Both remind us that music is not just
about rules and ragas but about life itself—its passions, its sorrows, its joys, and its
devotion.
So, when we listen to a Tappa, we feel the restless heartbeat of a lover; when we listen to a
Thumri, we feel the sigh of the soul. Together, they make Hindustani music not just an art
form, but a mirror of human experience.
SECTION-B
3. Define Folk Music and also write in detail about Folk Music of Punjab.
Ans: Folk Music and Folk Music of Punjab
Imagine walking through a village in Punjab during a bright, sunny day. Children are playing
in the fields, women are drawing water from the well, and somewhere in the distance, a
group of villagers are clapping, singing, and dancing to the beat of drums and flutes. The air
is filled with rhythm, emotion, and stories—stories of love, valor, daily life, and devotion.
This is the essence of folk music—the voice of ordinary people expressing their joys,
sorrows, hopes, and traditions.
What is Folk Music?
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Folk music is the music of the people. It is not composed in grand concert halls or written in
elaborate music sheets. Instead, it grows naturally in communities, passed from one
generation to the next by oral tradition. Folk music reflects the culture, environment, social
life, and values of a community. It is simple yet powerful, often accompanied by traditional
instruments like drums, flutes, stringed instruments, or even clapping hands and foot-
tapping.
Think of it as the heartbeat of a community. In villages, festivals, weddings, harvests, and
religious ceremonies, folk music is everywhere. Every song tells a story—sometimes
humorous, sometimes tragic, sometimes devotional, but always deeply connected to life.
The Folk Music of Punjab
Punjab, with its rich agricultural plains, vibrant festivals, and heroic history, has a folk music
tradition that is lively, emotional, and deeply rooted in daily life. Punjabi folk music is more
than just songs—it is a mirror reflecting the soul of Punjab.
1. Themes and Subjects
Punjabi folk music can be divided into several themes, each reflecting a part of life:
• Love and Romance: Songs like Heer, Ranjha, Sohni, and Mahiwal tell legendary love
stories. These are often emotional, describing the pain of separation, the joy of
union, or the struggles lovers face. Every young person in Punjab grows up hearing
these tales in song.
• Heroism and Valor: Punjab has a history of brave warriors, and folk songs like Dhulla
Bhatti, Sultan Rahi, and War Songs of Sikh Gurus celebrate courage, bravery, and
honor. These songs often inspire a sense of pride and patriotism.
• Agriculture and Seasons: Being an agrarian land, Punjab celebrates sowing,
harvesting, and seasonal changes in songs like Lohri, Baisakhi, and Maghi songs.
These songs are often sung during festivals, reflecting gratitude to nature and
marking important agricultural milestones.
• Devotion and Spirituality: Many folk songs are devotional, praising God, Sikh Gurus,
or village deities. For example, songs praising Guru Nanak Dev Ji or Guru Gobind
Singh Ji are sung in a spiritual, soulful manner, combining rhythm with religious
fervor.
• Humor and Satire: Punjabi folk music also has playful, humorous, and satirical songs
that comment on everyday life, relationships, and society. These songs are meant to
entertain and bring the community together.
2. Instruments of Punjabi Folk Music
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Punjabi folk music is incomplete without its instruments, which give life and rhythm to the
songs. Some of the most famous traditional instruments include:
• Dhol: The most iconic Punjabi instrument, the dhol is a large drum played with sticks.
Its beat is so powerful that it instantly makes people want to dance, making it central
to festivals, weddings, and Bhangra performances.
• Chimta: This is a metal percussion instrument with small bells, often used in folk
songs and devotional music. Its tinkling sound creates a cheerful, rhythmic
accompaniment.
• Tumbi: A single-stringed instrument, small in size, but full of energy. It is widely used
in folk songs to give melody and rhythm.
• Algoza: A pair of wooden flutes played simultaneously, producing a sweet,
continuous sound. It is popular in pastoral and romantic songs.
• Ektara: A one-stringed instrument often used by wandering minstrels and spiritual
singers, producing a haunting, melodic sound.
These instruments, combined with human voices, make Punjabi folk music energetic,
melodic, and unforgettable.
3. Folk Music and Dance
In Punjab, music and dance go hand in hand. Folk songs often accompany energetic dances
like Bhangra and Giddha.
• Bhangra: Traditionally performed by men during harvest festivals like Baisakhi, it
combines vigorous drum beats with jumps, kicks, and claps. Bhangra songs usually
celebrate joy, courage, and prosperity.
• Giddha: Performed by women, Giddha involves rhythmic clapping, elegant footwork,
and singing of ballads called Boliyan. These songs often tell humorous stories about
village life, love, and marriage.
Through dance, folk music becomes more than just sound—it becomes a celebration of life.
4. Preservation of Punjabi Folk Music
The beauty of Punjabi folk music lies in its oral tradition. Songs are taught from elders to
children, ensuring that stories, emotions, and melodies are preserved. Even today, in the
age of digital music, folk songs are sung during weddings, harvests, and festivals. Many
modern Punjabi singers have adapted these traditional songs, blending them with
contemporary beats, but the essence remains rooted in folk traditions.
Folk music also reflects social and cultural identity. For Punjabis, it is a connection to their
land, language, and heritage. It strengthens community bonds, brings people together, and
passes on shared memories and values.
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A Story from the Heart of Punjab
To truly understand Punjabi folk music, imagine this scene: It is the evening of Lohri, the
festival of harvest. Villagers gather around a blazing bonfire. A young man starts singing a
song about Dulla Bhatti, the legendary Robin Hood of Punjab. The firelight flickers on
smiling faces as children join in, clapping hands and singing along. Women dance in circles,
beating small drums, while the men perform vigorous Bhangra steps. The night echoes with
laughter, songs, and joy. Here, folk music is not just entertainment—it is the soul of Punjab,
alive and breathing through its people.
Conclusion
Folk music is more than just melodies and rhythms—it is the story of ordinary people, their
struggles, joys, and dreams. Punjabi folk music, with its rich variety of themes, instruments,
and dances, reflects the vibrant life of Punjab. It celebrates love, heroism, nature, devotion,
and humor. From the haunting tunes of the algoza to the thunderous beats of the dhol,
from the stirring tales of valor to the playful boliyan, Punjabi folk music is timeless,
connecting past generations to the present, and continuing to inspire future generations.
In short, to understand Punjab, one must listen to its folk songs—they are the heartbeats of
its people, echoing across fields, festivals, and villages, carrying stories that are as old as the
soil itself.
4. Write down the life and work of Pt. Dalip Chander Bedi Ji.
Ans: On the fertile land of Punjab, where the sound of Gurbani kirtan mingles with the
earthy songs of farmers, was born a child who would one day become one of the most
respected torchbearers of Hindustani classical music. That child was Pandit Dilip Chandra
Vedi Ji (1901–1992), often lovingly remembered as Pt. Dalip Chander Bedi Ji. His life was not
just the story of a musician, but of a seeker—someone who believed that music was not
entertainment alone, but a sacred discipline, a moral responsibility, and a lifelong tapasya
(austerity).
Let’s walk through his life and work like a story, so that his journey feels alive and inspiring.
Early Life and Background
• Birthplace: Pt. Vedi Ji was born in 1901 in Anandpur Sahib, Punjab, a town steeped
in Sikh history and spirituality. His family traced its lineage to the tradition of Guru
Nanak Dev Ji, which gave him a strong grounding in devotion and discipline from
childhood.
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• Environment: Growing up in Punjab, he was surrounded by folk melodies, kirtan,
and the vibrant cultural life of the region. This early exposure shaped his sensitivity
to both the rustic and the refined aspects of music.
From the very beginning, music was not something external to him—it was in the air he
breathed.
Musical Training
Like every great artist, Pt. Vedi Ji’s journey was marked by rigorous training under legendary
gurus.
1. Initial Training:
o He first trained under Uttam Singh, who gave him the foundation of swara
(notes) and raga grammar.
2. Bhaskarbuwa Bakhle:
o His most formative training came under Pandit Bhaskarbuwa Bakhle, one of
the greatest vocalists of the Gwalior tradition.
o Bhaskarbuwa’s style was known for its clarity, precision, and depth. Vedi Ji
absorbed this like a sponge.
o Even after Bhaskarbuwa’s untimely death, the impression of his style
remained etched in Vedi Ji’s music forever.
3. Ustad Faiyyaz Khan (Agra Gharana):
o After Bhaskarbuwa’s passing, Vedi Ji became a disciple of Ustad Faiyyaz
Khan, the doyen of the Agra gharana.
o From him, he learned the majestic, robust style of Agra gayaki, with its
emphasis on bol-bant (rhythmic play with words), nom-tom alaap, and
powerful taans.
4. Alladiya Khan (Jaipur Gharana):
o Vedi Ji also received training from Ustad Alladiya Khan, the founder of the
Jaipur-Atrauli gharana.
o This gave him exposure to rare ragas, complex structures, and the intellectual
depth of Jaipur gayaki.
Thus, Pt. Vedi Ji was one of the rare musicians who imbibed the essence of multiple
gharanas—Gwalior, Agra, and Jaipur—making his music both versatile and profound.
His Musical Style
• Blend of Gharanas: His gayaki was a unique synthesis. From Gwalior he took clarity,
from Agra he took power, and from Jaipur he took intellectual depth.
• Purity of Raga: He was uncompromising about raga grammar. He could not tolerate
any dilution or distortion of a raga.
• Scholarship: He was fluent in Hindi, Urdu, Marathi, and English, which allowed him
to study musicological texts deeply.
• Harmonium Mastery: Apart from being a vocalist, he was also an excellent
harmonium player.
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His music was not just performance—it was a statement of integrity.
His Work and Contributions
1. Performer
• In his prime, Pt. Vedi Ji was a celebrated performer, sharing the stage with
contemporaries like Pandit Omkarnath Thakur, Ustad Bade Ghulam Ali Khan, and
Nasiruddin Khan Dagar.
• His concerts were known for their seriousness and depth. He was not interested in
pleasing the crowd with easy tricks; he wanted to uphold the dignity of classical
music.
2. Teacher and Guru
• After the 1960s, when his voice began to falter, he gradually withdrew from active
performance.
• But instead of retiring, he dedicated himself to teaching and research.
• He trained many disciples who went on to become respected musicians, such as
Pandit Amarnath, M.R. Gautam, and Chinmoy Lahiri.
• His teaching style was strict but affectionate. He demanded discipline and sincerity,
just as his gurus had demanded from him.
3. Research and Preservation
• Pt. Vedi Ji was deeply concerned about the decline of standards in classical music.
He openly criticized mediocrity and fought against the commercialization of music.
• He worked on documenting ragas, preserving rare compositions, and advising
institutions on maintaining purity in teaching.
4. Advisory Roles
• He served on various committees and advisory boards related to music education
and broadcasting.
• His opinions were respected, though sometimes feared, because he never hesitated
to call out what he saw as wrong.
His Personality
• Fearless: Many musicians were wary of him because he would openly challenge
anyone who sang incorrectly.
• Devoted: He lived for music, not for fame or wealth.
• Disciplined: His life was an example of riyaz (practice), humility before the art, and
devotion to tradition.
• Respected: Even those who feared his sharp tongue respected his integrity and
knowledge.
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Later Years and Passing
• In his later years, Pt. Vedi Ji stopped performing but remained active as a teacher
and guide.
• He passed away on 13 November 1992, leaving behind a legacy of purity, discipline,
and scholarship in Hindustani classical music.
Legacy
1. As a Musician: He preserved the dignity of Hindustani classical music at a time when
it was under pressure to become more commercial.
2. As a Teacher: His disciples carried forward his values, ensuring that his influence
spread far beyond his own performances.
3. As a Scholar: His deep knowledge of multiple gharanas made him a living
encyclopedia of Hindustani music.
4. As a Person: He embodied the idea that music is not just art but a moral and spiritual
discipline.
Story Analogy
Think of Hindustani classical music as a sacred river. Many streams feed into it—folk,
devotional, gharana traditions. Pt. Dilip Chandra Vedi Ji was like a vigilant guardian of this
river. He ensured that the water remained pure, that no one polluted it with carelessness or
mediocrity. He drank deeply from its flow himself, and then guided others to do the same.
Chief Takeaways
1. Born in 1901 in Anandpur Sahib, Punjab, into a family rooted in devotion.
2. Trained under giants: Uttam Singh, Bhaskarbuwa Bakhle, Faiyyaz Khan, and Alladiya
Khan.
3. Mastered multiple gharanas—Gwalior, Agra, Jaipur.
4. Known for purity of raga, fearless criticism of mediocrity, and scholarship.
5. Celebrated performer in his prime, later a revered teacher and researcher.
6. Disciples include Pt. Amarnath, M.R. Gautam, Chinmoy Lahiri.
7. Passed away in 1992, leaving behind a legacy of discipline and devotion.
Conclusion
The life and work of Pt. Dalip Chander Bedi Ji remind us that music is not just about
sound—it is about values. He showed that a true musician is not one who merely entertains,
but one who protects, preserves, and passes on the sacred tradition of art. His fearless
honesty, his uncompromising discipline, and his deep devotion to raga purity make him a
role model for every student of music.
In remembering him, we are reminded that Hindustani classical music is not just an art form
but a way of life—and Pt. Vedi Ji lived that life with unmatched integrity.
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SECTION-C
5. Give description of Raga Adana and write in notation of a Drut Khayal in Raga Darbari.
Ans: The Beauty and Soul of Raga Adana and Drut Khayal in Raga Darbari
Music is not just sound—it is emotion, a story without words, a journey of the soul. Indian
classical music, in particular, is like a living diary, where each raga carries its own
personality, mood, and time of the day. Today, let’s embark on a journey through Raga
Adana and then explore how to present a Drut Khayal in Raga Darbari, imagining ourselves
in a musical world where notes breathe life.
Raga Adana: The Evening Warrior
To start, think of Raga Adana as a raga that belongs to the late-night or early-night hours. It
is a raag of boldness, devotion, and heroism. Imagine yourself sitting by a calm riverside as
the sky turns dark blue, and the stars slowly appear. This is the mood that Adana evokes—
intense, deep, and yet soothing.
Raga Adana is part of the Asavari Thaat, which gives it a serious, solemn undertone.
However, it is not merely serious; it is dynamic, adventurous, and dramatic. The raga often
starts with the lower notes (mandra saptak) and moves boldly into the middle notes
(madhya saptak), giving a sense of movement and exploration.
• Arohana (Ascending Scale): S R M P N S'
• Avarohana (Descending Scale): S' n D P M G R S
Here, notice how the raga climbs gently, then descends gracefully, often using komal (flat)
notes to give that melancholy, heroic feeling. The note Pa (Pancham) is often emphasized,
giving stability to the phrases. In short, Raga Adana is like a brave hero: calm, yet ready to
surge forward.
Characteristic Features of Raga Adana
1. Time of Performance: Traditionally performed in late night or early morning,
around 9 PM to midnight.
2. Mood (Rasa): Adana evokes heroic, devotional, and romantic moods
simultaneously. Its phrases can make you feel both courage and calmness.
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3. Key Notes:
o Vadi (Most Important Note): Sa (Shadja)
o Samvadi (Second Most Important Note): Pa (Pancham)
4. Pakad (Signature Phrase): One of the signature phrases is S R M P N S' n D P, which
beautifully expresses the heroic yet devotional nature of the raga.
Listening to Raga Adana is like watching a story unfold silently—a hero walks through the
night, and every step, every note tells a tale.
Drut Khayal: Raga Darbari
Now, let’s shift our musical adventure to Raga Darbari, one of the most majestic and deep
ragas of Hindustani classical music. If Adana is a brave hero at night, Darbari is the wise king
on his throne, commanding respect with every note. It belongs to the Asavari Thaat as well,
but Darbari is slower, more meditative, and perfect for expressing depth of feeling.
A Drut Khayal is a fast-tempo vocal performance, where the artist showcases skill,
improvisation, and mastery over rhythm. In Drut Khayal, the khayal starts with a Bandish
(composition) and then expands with taans (rapid note patterns), bol-bant (variation of
lyrics), and layakari (rhythmic play).
Notation of a Drut Khayal in Raga Darbari
Let’s imagine a Drut Khayal Bandish in Teental (16-beat cycle). The composition is
devotional and romantic, a classic theme for Darbari.
Raga: Darbari
Taal: Teental (16 beats)
Tempo: Drut (fast)
Notation (Sargam & Bol for Drut Khayal):
Aroh (Ascending): S R g M P D n S'
Awaroh (Descending): S' n D P M g R S
Bandish (Bol Example):
S R g M | P D n S' ||
S' n D P | M g R S ||
“Jeevan ki reet hai, prem mein hai meet”
S R g M | P D n S' ||
S' n D P | M g R S ||
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“Duniya ki chahat hai, mann ki baat hai”
Explanation of the Bandish:
• The first line rises gently, setting the stage. Notes climb from Sa to higher Sa (S'),
showing aspiration and devotion.
• The second line descends with elegance, bringing the emotion of contemplation and
calmness.
• Rapid taans can be added on phrases like P D n S' n D P M g R S to showcase skill.
• The lyrics are simple, yet profound, connecting emotion (bhava) with rhythm (laya).
How to Perform and Feel It
1. Start Slowly: Begin with Alap, gently exploring the raga Darbari’s depth. Emphasize
Komal Ga (g) and Komal Dha (D), as these notes give its royal, solemn flavor.
2. Enter Drut Khayal: Once the mood is established, increase speed, keeping the
rhythm tight. Play with taans, bol-bant, and layakari to add excitement.
3. Focus on Emotion: Every note in Darbari should feel like a king’s decree—serene,
commanding, and expressive. Even at fast speed, the depth should remain.
Tip: The secret is control over ornamentation. Meend (glide between notes), gamak
(oscillation), and andolan (slow modulation) give Darbari its majestic flavor, even in a fast-
tempo Drut Khayal.
Connecting the Two Ragas
It’s fascinating to compare Raga Adana and Darbari:
• Adana is bold, adventurous, late-night energy—perfect for heroic and romantic
moods.
• Darabari is deep, slow, and royal—perfect for devotion and contemplation.
Both ragas belong to Asavari Thaat and share komal notes, but the expression differs:
Adana moves upward with energy, Darbari descends with authority. Performing them in
succession in a recital can take listeners from bravery to majesty, from action to reflection.
Conclusion
In the journey of Indian classical music, Raga Adana and Raga Darbari are like two powerful
chapters of a story. Adana thrills you with its daring, night-time courage, while Darbari
enthralls with its wisdom and regality. When you perform a Drut Khayal in Darbari, you are
not just singing—you are storytelling with notes, emotions, and rhythm.
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6. Write in notation Tilwara Taal in single and double layakaries along with its description.
Ans: Imagine you are sitting in a dimly lit mehfil (musical gathering). The tanpura hums
steadily in the background, the vocalist closes his eyes, and the tabla player gently places his
hands on the drumheads. Instead of beginning with the familiar Teentaal, the tabla player
starts a slower, more graceful rhythm. The beats unfold like a calm river, steady and
dignified. This is Tilwara Taal (also called Tilwada), one of the most elegant 16-beat cycles in
Hindustani classical music.
Tilwara is not as commonly heard today as Teentaal, but in the world of vilambit khayal
(slow tempo khayal singing), it has a special place. Its flow is gentle, its theka (basic pattern)
is graceful, and it provides a perfect canvas for expansive, meditative singing. To understand
Tilwara, we need to look at its structure, its theka, and how it is expressed in single layakari
(ekgun) and double layakari (dugun).
Let’s explore this step by step, in a way that feels like a story rather than a dry technical
explanation.
Description of Tilwara Taal
• Matras (beats): 16
• Vibhags (divisions): 4 (each of 4 beats)
• Taalis (claps): On 1st, 5th, and 13th matras
• Khali (wave): On the 9th matra
• Sam (first beat): The most important beat, marked with “X”
So the structure looks like this:
X (clap) 2 (clap) 0 (wave) 3 (clap)
1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16
Theka (basic pattern of bols)
Dha Tirkit Dhin Dhin | Dha Dha Tin Tin | Ta Tirkit Dhin Dhin | Dha Dha Dhin Dhin
Notice the “Tirkit” phrase on the 2nd and 10th beats—it gives Tilwara its unique swing and
separates it from Teentaal.
Tilwara in Single Layakari (Ekgun)
Single layakari means playing or reciting the taal in its natural form—one bol per beat. This
is the simplest and most fundamental way to present Tilwara.
Notation in Ekgun
1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16
Dha Tirkit Dhin Dhin | Dha Dha Tin Tin | Ta Tirkit Dhin Dhin | Dha Dha Dhin Dhin
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X | 2 | 0 | 3
Here, each beat (matra) carries one bol or cluster of bols. The flow is steady, and the listener
can easily count along.
Tilwara in Double Layakari (Dugun)
Double layakari means two bols per beat. The same theka is expanded so that every matra
carries twice the number of syllables. This creates a denser, more energetic texture while
still fitting into the same 16-beat cycle.
Notation in Dugun
1 2 3 4 | 5 6 7 8
DhaTirkit DhinDhin DhaDha TinTin | TaTirkit DhinDhin DhaDha DhinDhin
X | 2
9 10 11 12 | 13 14 15 16
DhaTirkit DhinDhin DhaDha TinTin | TaTirkit DhinDhin DhaDha DhinDhin
0 | 3
Notice how the bols are compressed: instead of “Dha Tirkit” taking two beats, in dugun it
fits into one beat. This requires precision and control from the tabla player.
How to Feel the Difference
• In Ekgun (single speed): The taal feels majestic and spacious. Each bol has room to
breathe. Perfect for vilambit khayal, where the singer stretches notes and explores
the raga deeply.
• In Dugun (double speed): The taal feels lively and energetic. The same theka now
sounds busier, giving the performance momentum. Often used in madhya laya
(medium tempo) or as a variation in tabla solos.
Applications of Tilwara Taal
1. Vocal Music:
o Most famously used in vilambit khayal singing. Many great khayal singers—
like Ustad Amir Khan and Pandit Bhimsen Joshi—preferred Tilwara for its
dignified flow.
o Also used in semi-classical forms like Thumri in slower tempos.
2. Instrumental Music:
o Sitar and sarod players sometimes use Tilwara for vilambit gats.
o Its graceful swing allows instrumentalists to explore meend (glides) and
gamak (oscillations).
3. Dance:
o Though less common than Teentaal in Kathak, Tilwara can be used for slow,
graceful compositions.
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Story Analogy
Think of Tilwara as a slow walk through a royal garden. In single layakari, you stroll
leisurely, admiring each flower, each tree. Every step is measured, every moment savored.
In double layakari, you quicken your pace slightly—you still enjoy the garden, but now
there’s a sense of rhythm and energy in your walk.
This is why Tilwara is beloved in vilambit khayal: it gives the singer the space to unfold the
raga like a painter slowly filling a canvas, while the tabla provides a steady, dignified frame.
Chief Takeaways
1. Tilwara Taal is a 16-beat cycle, similar in structure to Teentaal but with a distinct
theka.
2. Claps (talis): 1, 5, 13; Khali: 9.
3. Theka:
Dha Tirkit Dhin Dhin | Dha Dha Tin Tin | Ta Tirkit Dhin Dhin | Dha Dha Dhin Dhin
4. Single Layakari (Ekgun): One bol per beat, spacious and graceful.
5. Double Layakari (Dugun): Two bols per beat, denser and more energetic.
6. Usage: Primarily in vilambit khayal, also in instrumental and semi-classical music.
7. Character: Elegant, meditative, and dignified—perfect for slow, expansive raga
development.
Conclusion
Tilwara Taal is like a hidden gem in Hindustani classical music. While Teentaal often
dominates the stage, Tilwara offers something different: a slower, more graceful rhythm
that allows music to breathe. Its theka, with the distinctive “Tirkit,” gives it a unique swing.
In single layakari, it feels like a calm river; in double layakari, it becomes a lively stream.
For students, learning Tilwara is not just about memorizing bols—it is about feeling the
dignity of time itself, about understanding how rhythm can shape the mood of a
performance. For listeners, it is a reminder that music is not always about speed or
complexity; sometimes, the deepest beauty lies in simplicity and grace.
SECTION-D
7. What is Gurmat Sangeet? Write in detail about the Hindustani Classical Music gayan
shallies which are used in Gurmat Sangeet.
Ans: Gurmat Sangeet: The Musical Soul of Sikhism
Imagine entering a serene Gurudwara in Punjab. The moment you step inside, a gentle wave
of sound embraces you—not just any sound, but a deeply spiritual music that seems to
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touch the very soul. The air is filled with melodies of devotion, rhythms of discipline, and
chants of eternal wisdom. This is Gurmat Sangeet, the sacred musical tradition of Sikhism,
where music and spirituality are inseparably intertwined.
Unlike popular or entertainment music, Gurmat Sangeet is not meant merely to delight the
ears—it is designed to elevate the mind, purify the heart, and connect the devotee with
the Divine. To understand Gurmat Sangeet, we need to see it not as a collection of songs,
but as a philosophy expressed through sound.
Origin and Philosophy of Gurmat Sangeet
The origins of Gurmat Sangeet can be traced back to Guru Nanak, the first Sikh Guru, who
laid down the foundation of Sikh music as a medium for spiritual instruction. Guru Nanak
believed that man cannot reach the Divine merely through intellect or rituals; the heart
must be touched, and the soul must be stirred. Music, with its universal language of
emotions, became the perfect medium.
Guru Nanak and the subsequent Gurus composed hymns known as Gurbani, which were
meant to be sung according to specific musical measures called Raags. These hymns were
not just prayers—they were guides for righteous living, expressions of divine love, and
lessons in moral and spiritual growth.
Over time, these musical compositions were codified into what became known as Gurmat
Sangeet, literally meaning “the music of the Guru’s wisdom.”
Structure of Gurmat Sangeet
Gurmat Sangeet is deeply rooted in the Hindustani Classical Music tradition, but with a
unique spiritual orientation. While classical music primarily aims at aesthetic pleasure,
Gurmat Sangeet focuses on meditative depth and devotional expression.
Its structure involves:
1. Raag: The melodic framework within which the hymns are sung. Each Raag is
associated with a particular mood, season, or time of day. For example, Raag Asa is
used to inspire hope, Raag Bhairavi for devotion, and Raag Sorath for
contemplation.
2. Taal: The rhythmic cycle that underpins the hymn. Unlike classical concerts where
rhythm can sometimes showcase technical virtuosity, in Gurmat Sangeet, the rhythm
serves the purpose of enhancing spiritual absorption.
3. Gayan Shailies (Singing Styles): These are the distinct vocal methods drawn from
Hindustani classical music, adapted to convey the spiritual messages of Gurbani.
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Hindustani Classical Music Gayan Shailies in Gurmat Sangeet
Gurmat Sangeet incorporates several Gayan Shailies (singing styles) from Hindustani
classical music, which were carefully chosen and adapted by the Sikh Gurus to ensure that
the devotional essence remained intact. Let’s explore these in detail:
1. Dhrupad Shaili
The Dhrupad style is one of the oldest forms of Hindustani classical music. It is slow,
meditative, and highly disciplined, making it ideal for the spiritual nature of Gurbani.
• Characteristics: Dhrupad emphasizes pure intonation, controlled breathing, and
long melodic phrases. Its structure includes Alap (slow introduction), Jod (rhythmic
development), and Dhrupad composition.
• Use in Gurmat Sangeet: Many hymns in the Guru Granth Sahib, especially those
composed in Raag Asa, are sung in a Dhrupad-inspired style to bring out the
solemnity and depth of the words.
2. Khayal Shaili
The Khayal style is slightly more flexible and expressive compared to Dhrupad. It allows
ornamentation (Alankars) and emotional expression (Bhava).
• Characteristics: Khayal includes fast and slow passages, improvisation, and subtle
variations to enhance the mood.
• Use in Gurmat Sangeet: Gurus used Khayal elements in light classical hymns,
especially when the message required emotion and devotion rather than strict
formality.
3. Thumri and Chaiti Influence
Some hymns also show Thumri and Chaiti influences, which are semi-classical forms
focused on romantic and devotional themes.
• Characteristics: These styles emphasize softness of voice, gentle ornamentation,
and lyrical expression.
• Use in Gurmat Sangeet: They help express love for the Divine, making the hymns
more intimate and emotionally touching for the listener.
4. Tappa Shaili
Although primarily a fast-paced and rhythmic form, Tappa is used selectively in Gurmat
Sangeet to highlight joyful or celebratory hymns. Its quick, intricate patterns reflect the
dynamic aspects of divine praise.
Integration of Classical Music into Gurmat Sangeet
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What makes Gurmat Sangeet unique is the synthesis of classical techniques with spiritual
focus. While a classical concert may aim to entertain and demonstrate mastery, Gurmat
Sangeet is always a vehicle for devotion and ethical teaching.
Some key aspects of this integration are:
1. Respect for Raag Time Theory: Hymns are sung in the Raag at the time of day
prescribed in the Guru Granth Sahib, enhancing the mood and receptivity of the
devotee.
2. Simplicity in Expression: Though rooted in classical forms, Gurmat Sangeet avoids
excessive ornamentation or improvisation that might distract from the meaning of
the hymn.
3. Spiritual Focus over Technical Display: The primary goal is meditation,
remembrance of God, and ethical inspiration, not applause or showmanship.
The Role of Instruments
While the voice is the central instrument, Gurmat Sangeet traditionally uses stringed
instruments like the Taus and Dilruba, the harmonium, and percussion instruments like
the Pakhawaj or Tabla. These instruments are carefully tuned to support the Raag and
enhance devotional absorption rather than dominate it.
Modern Relevance
Today, Gurmat Sangeet continues to thrive, both in traditional Gurudwaras and in academic
study. Institutions like Guru Nanak Dev University in Amritsar and organizations such as
SPNCA (Shiromani Gurdwara Parbandhak Committee) ensure that the authentic classical-
based styles of Gurmat Sangeet are preserved and passed on.
It is more than music—it is a living bridge between the human heart and the Divine, a
reminder that sound, rhythm, and melody can guide us to a higher spiritual consciousness.
Conclusion
In conclusion, Gurmat Sangeet is the soulful expression of Sikh spirituality through the
medium of music. Rooted in Hindustani classical traditions, it uses Dhrupad, Khayal,
Thumri, Chaiti, and Tappa shailies to convey the teachings of the Gurus with precision,
depth, and devotion. Unlike secular classical music, its goal is not entertainment but
elevation of the spirit, meditation on the Divine, and ethical living.
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The next time you hear the soothing strains of a Raag being sung in a Gurudwara,
remember—you are not just listening to music; you are experiencing centuries of devotion,
philosophy, and spiritual awakening, all woven together through Gurmat Sangeet.
8. Evaluate the contribution of Sri Guru Arjun Dev ji towards Indian Music.
Ans: Imagine the city of Amritsar in the late 16th century. The foundation stone of the
Harmandir Sahib (Golden Temple) has just been laid, and the air is filled with the sound of
devotional singing. Inside the sanctum, a young Guru sits, listening intently as musicians
render verses in carefully chosen ragas. This Guru is Sri Guru Arjun Dev Ji (1563–1606), the
fifth Sikh Guru, a spiritual leader, poet, and visionary who not only shaped Sikh philosophy
but also left an indelible mark on the history of Indian music.
Guru Arjun Dev Ji’s contribution to music was not accidental—it was deliberate, systematic,
and deeply spiritual. He believed that music was not just an ornament of worship but the
very vehicle of divine truth. His work in compiling the Adi Granth (later Guru Granth Sahib),
his use of ragas, and his institutionalization of Gurmat Sangeet (the Sikh musical tradition)
make him one of the most important figures in the story of Indian music.
Let’s explore his contributions step by step, in a way that feels like a story unfolding.
Early Life and Musical Sensibility
Born in 1563 at Goindwal Sahib, Guru Arjun Dev Ji was the youngest son of Guru Ram Das Ji.
From childhood, he displayed a natural inclination towards poetry, devotion, and music. He
learned Gurmukhi, Persian, Hindi, and Sanskrit, which gave him access to diverse literary
and musical traditions.
Unlike many rulers or saints who treated music as a secondary art, Guru Arjun Dev Ji saw it
as central to spiritual life. He often said that the human soul could be tuned like an
instrument, and when aligned with divine melody, it resonated with truth.
Compilation of the Adi Granth: A Musical Masterpiece
Guru Arjun Dev Ji’s greatest contribution to Indian music was the compilation of the Adi
Granth (1604), the precursor to the Guru Granth Sahib.
• He collected the hymns of the first four Gurus, his own compositions, and the verses
of saints from different traditions—Hindu bhaktas like Kabir, Namdev, Ravidas, and
Muslim Sufis like Sheikh Farid.
• What made this compilation unique was that he arranged the hymns according to
ragas.
Use of Ragas
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• The Adi Granth is organized into 31 major ragas and several raaginis (sub-ragas).
• Each hymn (shabad) is set to a specific raga, ensuring that it is sung, not merely read.
• This was revolutionary: instead of being a book of philosophy, the scripture became
a living musical text.
Why Ragas?
Guru Arjun Dev Ji understood that ragas are not just scales but emotional frameworks. Each
raga evokes a mood—devotion, longing, peace, or joy. By setting hymns in ragas, he
ensured that the spiritual message was carried directly to the heart through emotion as well
as intellect.
For example:
• Raag Asa evokes hope and determination.
• Raag Bhairav conveys seriousness and devotion.
• Raag Suhi expresses deep love and longing.
Thus, the scripture itself became a symphony of devotion.
Institutionalization of Gurmat Sangeet
Guru Arjun Dev Ji did not stop at compiling hymns. He also institutionalized the practice of
singing them in prescribed ragas.
• He encouraged the tradition of raagi jathas (groups of musicians) who would sing
Gurbani in the Harmandir Sahib and other gurdwaras.
• He emphasized the use of traditional instruments like the rabab, saranda, taus, and
jori.
• He discouraged the use of music for mere entertainment, insisting that it should be a
medium of spiritual elevation.
This gave birth to Gurmat Sangeet, the Sikh musical tradition, which continues to this day.
Contribution to Indian Music at Large
Guru Arjun Dev Ji’s work had a profound impact not only on Sikh music but on Indian music
as a whole.
1. Preservation of Ragas
o By codifying hymns in ragas, he preserved many melodic forms that might
otherwise have been lost.
o The Guru Granth Sahib remains one of the most systematic musical
anthologies in Indian history.
2. Fusion of Traditions
o By including bhaktas and sufis, he created a musical bridge between Hindu
and Muslim traditions.
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o This reflected the pluralistic ethos of Indian music, where ragas transcend
religious boundaries.
3. Democratization of Music
o In his vision, music was not the privilege of elites or court musicians.
o Every Sikh, regardless of caste or class, could participate in kirtan. This
democratization of music was a radical step in a society divided by hierarchy.
4. Spiritualization of Performance
o While dhrupad and khayal were flourishing in Mughal courts, Guru Arjun Dev
Ji emphasized that music should not flatter kings but praise the Divine.
o This shifted the focus of music from entertainment to spiritual practice.
Anecdotes and Symbolism
• When the Harmandir Sahib was completed, Guru Arjun Dev Ji installed the Adi
Granth there in 1604. The scripture was not placed as a silent text but as a musical
guide. From that day, the tradition of continuous kirtan began.
• He himself composed nearly 2,000 hymns, many of which are still sung daily in
gurdwaras. His poetry is lyrical, musical, and deeply devotional.
Story Analogy
Think of Indian music as a vast garden. Before Guru Arjun Dev Ji, the garden had many
flowers—Hindu bhajans, Sufi qawwalis, folk songs, and classical ragas. Guru Arjun Dev Ji did
something extraordinary: he gathered the most fragrant flowers, arranged them carefully,
and wove them into a garland of ragas. This garland was the Adi Granth, a musical scripture
that continues to bloom centuries later.
Chief Takeaways
1. Guru Arjun Dev Ji (1563–1606) was the fifth Sikh Guru, a poet, musician, and
visionary.
2. He compiled the Adi Granth (1604), arranging hymns into 31 ragas.
3. He institutionalized Gurmat Sangeet, ensuring that Gurbani was always sung, not
just recited.
4. He preserved ragas, democratized music, and fused Hindu and Muslim traditions.
5. His own compositions (around 2,000 hymns) enriched the Sikh musical canon.
6. His vision transformed music from entertainment into a spiritual discipline
accessible to all.
Conclusion
Sri Guru Arjun Dev Ji’s contribution to Indian music is monumental. He was not merely a
patron of music but a musical architect of spirituality. By compiling the Adi Granth in ragas,
he ensured that divine wisdom would always be sung, not just spoken. By institutionalizing
Gurmat Sangeet, he created a living tradition that continues to thrive in gurdwaras
worldwide.
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In evaluating his contribution, we see that he preserved ragas, united traditions,
democratized music, and gave it a spiritual purpose. His legacy is not just in the verses he
wrote but in the soundscape of devotion that still resonates every morning and evening in
Sikh temples.
To this day, when the shabad kirtan begins in the Harmandir Sahib, we are hearing not only
the voice of the raagis but also the vision of Guru Arjun Dev Ji, who believed that music is
the purest path to the Divine.
“This paper has been carefully prepared for educational purposes. If you notice any mistakes or
have suggestions, feel free to share your feedback.”
