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GNDU Question Paper-2023

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 History of North Indian Music during modern period.

2. Write short notes on any Two of the following:-

(a) Thumri

(b) Tappa

SECTION-B

3. What do you understand by Folk music of Punjab? Write in detail.

4. Give life sketch and contribution of Pt. Dalip Chander Bedi ji towards Indian

Classical Music.

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SECTION-C

5. Give full description of the following:-

(a) Rag-Bhairav

(b) Tal-Tilwara

6. Write notation of one Drut Khayal in any Raga from your course. 10

SECTION-D

7. What do you understand by Classical Gyan Shailly? Describe the main Classical Gayan

Shaillies used in Gurmat Sangeet.

8. Write in detail the contribution of Sri Guru Arjun Dev Ji in the field of Indian Music.

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GNDU Answer Paper-2023

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 History of North Indian Music during modern period.

Ans: The history of North Indian music, known as Hindustani classical music, during the

modern period represents a rich tapestry of evolution influenced by cultural, political, and

social changes in India. Let’s take a closer look at its development, key features, and the

major figures who played a role in shaping its present form.

Origins and Early Development

North Indian music has its roots in ancient times, but it was during the medieval and

modern periods that it truly began to flourish and differentiate itself from its Southern

counterpart, Carnatic music. The division between Hindustani and Carnatic music is often

attributed to cultural differences influenced by the Mughal Empire in the North and the

preservation of indigenous traditions in the South. Hindustani music absorbed elements

from Persian and Islamic cultures, which had a lasting impact on its structure, forms, and

instruments.

The Mughal Influence

The Mughal era played a significant role in shaping the modern face of Hindustani classical

music. Akbar’s court musician, Tansen, is one of the most celebrated figures of this period.

Tansen’s contribution was not only in terms of his compositions but also in solidifying the

raga system, which is the heart of both Hindustani and Carnatic traditions. His association

with Akbar’s court allowed Hindustani music to become more prominent in North India, and

many of his compositions are still performed today.

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During the Mughal rule, other musical forms such as Dhrupad gained prominence. Dhrupad

is one of the oldest forms of Hindustani music, characterized by its meditative and spiritual

nature. It is often performed in temples and royal courts. Although Dhrupad has waned in

popularity, it laid the foundation for modern forms like Khayal.

Emergence of Khayal

Khayal, a vocal form that emerged in the 18th century, gradually replaced Dhrupad as the

dominant style in North Indian classical music. Khayal is known for its emotional depth,

flexibility, and room for improvisation, making it more accessible to wider audiences. This

shift towards Khayal marked a significant milestone in the evolution of Hindustani music.

Unlike Dhrupad, which focuses on strict, devotional expressions, Khayal is more expressive

and allows for individual interpretation of ragas.

Khayal performance involves two sections: vilambit (slow tempo) and drut (fast tempo). The

flexibility in rendering makes Khayal a favorite form of performance, even in contemporary

times. Famous Khayal exponents include Ustad Amir Khan, Pandit Bhimsen Joshi, and Ustad

Bade Ghulam Ali Khan, who each brought unique styles and interpretations to this form.

Instruments and Gharanas

The modern period saw the rise of instrumental music alongside vocal forms. Traditional

instruments like the sitar, sarod, tabla, and sarangi gained prominence. Artists such as Ustad

Ravi Shankar (sitar) and Ustad Zakir Hussain (tabla) popularized these instruments not only

in India but also internationally.

The concept of gharanas (schools of music) became more formalized during the modern

period. Gharanas refer to different schools or traditions of music, each with its own unique

style, repertoire, and approach to teaching. Some of the most well-known gharanas in

Hindustani music are:

• Gwalior Gharana: One of the oldest, known for its emphasis on the purity of ragas.

• Kirana Gharana: Focuses on the intricate development of ragas, with an emphasis on

long, sustained notes.

• Patiala Gharana: Known for its energetic and ornamented singing style.

• Benaras Gharana: Known for its blend of devotional and classical elements,

especially in the use of tabla.

Each gharana has produced legendary musicians and has its own method of interpreting

ragas and talas (rhythmic patterns).

The Impact of Colonialism

During British rule, classical music in India faced significant challenges. Western classical

music and other forms of Western entertainment were introduced, which shifted the

cultural landscape. However, classical music persisted, largely thanks to the patronage of

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royal courts and the dedication of musicians who continued to pass on traditions through

the guru-shishya parampara (teacher-student lineage).

In response to these challenges, music institutions such as Sangeet Research Academy and

Bhatkhande Music Institute were established to formalize and preserve the art of

Hindustani classical music. Vishnu Narayan Bhatkhande, a musicologist, played a pivotal role

in creating a comprehensive classification of ragas and talas, which became a standard

reference for generations of musicians.

The Role of Mass Media

The 20th century brought technological advancements that transformed the reach and

influence of Hindustani classical music. The advent of radio broadcasting, gramophone

records, and later television, allowed classical music to reach a wider audience than ever

before. Icons such as Pandit Ravi Shankar and Lata Mangeshkar became household names,

popularizing both classical and semi-classical music.

Moreover, the fusion of Hindustani music with other global forms, particularly through Ravi

Shankar’s collaborations with Western musicians like George Harrison of the Beatles,

introduced this art form to global audiences.

The Present State

Today, Hindustani classical music continues to evolve while maintaining its core traditions.

Modern-day performers balance traditional ragas with contemporary interpretations,

ensuring that the music remains relevant. In urban areas, classical music concerts attract

large audiences, while rural areas still preserve many traditional forms. Music festivals like

Sawai Gandharva and Tansen Samaroh celebrate this rich musical heritage annually.

Educational institutions, music schools, and academies continue to play a vital role in

nurturing young talent. The guru-shishya tradition remains a critical method of learning,

although many students now combine this with formal education in music theory.

In conclusion, the history of North Indian music in the modern period is a story of resilience,

adaptation, and creativity. From its roots in ancient India, through the Mughal influence, the

birth of Khayal, and into the globalized world of today, Hindustani classical music has

remained a powerful expression of India’s cultural identity

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2. Write short notes on any Two of the following:-

(a) Thumri

(b) Tappa

Ans: Here is a simplified explanation of two Indian classical music forms: Thumri and

Tappa, along with a brief overview of Chaturang. These are part of the semi-classical genre

and are important in understanding the depth of Indian vocal music traditions.

(a) Thumri

Thumri is a popular semi-classical style of Indian vocal music that originated in the 16th or

17th century. It became prominent in the royal courts of North India, especially in the region

between the Ganga and Yamuna rivers. It flourished under the patronage of Nawab Wajid

Ali Shah of Lucknow in the 19th century, who was a major supporter of the arts, including

music and dance.

Key Characteristics of Thumri:

• Emotional Content: Thumri is known for its emotional and expressive quality. The

central theme revolves around love, mostly focusing on romantic and devotional

aspects, often with references to Lord Krishna and Radha. It portrays different

shades of emotions, such as love, longing, separation, and joy.

• Language and Lyrics: The lyrics of Thumri are written in various regional dialects like

Awadhi, Bhojpuri, and Brij Bhasha, which lend it a soft and melodious flow. The

wordplay is given great importance, and a singer uses emotional depth to evoke the

mood of the song.

• Musical Structure: In Thumri, the composition and improvisation focus on

expressing the meaning of the lyrics (called "Bol Banaav"). The singer emphasizes

emotional storytelling with the help of musical variations. Typically, Thumri has a

slow and delicate tempo in the beginning and accelerates towards the end, leading

to a fast phase known as "Laggi" where the tabla player can improvise.

• Raagas: Thumri is often based on light classical ragas such as Khamaj, Kafi, and

Bhairavi. These ragas have a soft and soothing quality, ideal for the emotional

expression of Thumri.

Some famous Thumri singers include Girija Devi, Begum Akhtar, and Shobha Gurtu(

(b) Tappa

Tappa is another form of semi-classical music that originated in Punjab. The word "Tappa"

means "jump," and this genre is known for its fast and rhythmic nature. It was developed in

the 18th century by Ghulam Nabi Shori, who was also known as Shori Miyan. He was

inspired by the folk songs of camel riders from Punjab, which were known for their

energetic and bouncy style.

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Key Characteristics of Tappa:

• Rhythmic Nature: Tappa is distinguished by its rapid, jumpy movements and

intricate rhythmic patterns. The style requires a high level of vocal skill and control,

as the singer must navigate quick transitions and sharp changes in tempo.

• Emotional Range: Like Thumri, Tappa often focuses on the emotions of love,

especially the pain of separation, longing, and desire. However, the delivery in Tappa

is much more vibrant and dynamic, offering a contrast to the more soulful Thumri.

• Musical Structure: Unlike the relaxed and flowing style of Thumri, Tappa is fast-

paced and intricate. The singer employs short, fast phrases and repetitive patterns.

The compositions usually consist of a single line of poetry, which is repeated and

elaborated upon using various musical techniques.

• Raagas: Tappa is generally performed in ragas like Kafi, Bhairavi, and Punjab, which

provide the necessary flexibility for its complex, fast rhythms.

Famous Tappa singers include Ghulam Nabi Shori (who is credited with its creation), along

with later exponents such as Pandit Laxmanrao and Girija Devi

Chaturang is a unique and complex form of Indian classical music. The term "Chaturang"

literally means "four colors" in Sanskrit, and it reflects the four elements that make up this

composition: words, tarana, sargam (musical notes), and percussion syllables.

Key Characteristics of Chaturang:

• Multi-dimensional Form: Chaturang includes four different components in one

composition, making it multi-dimensional. It starts with a poetic line, followed by the

use of sargam (musical notes), then incorporates tarana (a style of singing using

meaningless syllables like "tanana"), and finally, it ends with rhythmic bols from the

tabla or pakhawaj.

• Fusion of Elements: Chaturang fuses the lyrical, melodic, and rhythmic aspects of

Indian music into one composition. It requires the artist to master various aspects of

classical music, as it demands precision and creativity in singing all the four parts

cohesively.

Chaturang is not as widely performed as Thumri and Tappa but remains an important form

in classical music, highlighting the versatility and creativity of the artist.

Conclusion

Both Thumri and Tappa are essential genres within the semi-classical traditions of Indian

music, while Chaturang showcases the technical prowess of classical musicians. Thumri is

emotional, soft, and deeply expressive, often highlighting romantic themes. In contrast,

Tappa is lively, complex, and showcases rhythmic skills. Chaturang integrates different

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musical elements into one complex composition, providing a unique experience for both

performers and listeners.

By understanding these forms, students of Indian classical music can appreciate the variety

and depth within vocal traditions, each offering distinct emotional and musical textures

SECTION-B

3. What do you understand by Folk music of Punjab? Write in detail.

Ans: Folk Music of Punjab: An Overview

Folk music of Punjab is the traditional music that has been passed down through

generations in the Punjab region, which includes both parts of India and Pakistan. This form

of music reflects the daily life, emotions, culture, and history of the Punjabi people. It has a

deep connection to the land, agriculture, festivals, and important events in people's lives

such as birth, marriage, and death. Folk music in Punjab is not just for entertainment; it’s a

way of storytelling, celebrating, and expressing feelings. It’s deeply embedded in the daily

lives of Punjabis.

Key Features of Punjabi Folk Music:

1. Simple and Melodious: Punjabi folk music is easy to understand and has simple,

repetitive melodies that everyone can sing along to. It is catchy and often performed

in open spaces like farms or during festivals.

2. Traditional Instruments: Instruments such as the dhol (a large drum), tumbi (a

single-stringed instrument), algoza (a double flute), and chimta (a tong-like

percussion instrument) are commonly used in Punjabi folk music. These instruments

add rhythm and energy to the music.

3. Themes and Topics: The lyrics of Punjabi folk songs typically revolve around:

o Agriculture: Since Punjab is an agrarian state, many folk songs describe

farming activities like sowing seeds, harvesting crops, and plowing fields.

o Love and Emotions: Songs about love, separation, joy, and sorrow are

common. They often talk about the feelings between lovers, husbands and

wives, or family members.

o Historical Events: Folk songs also narrate tales of warriors, battles, and

historical events. Heroes like Maharaja Ranjit Singh, and tales of freedom

fighters are part of the narrative.

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o Festivals and Celebrations: Folk music plays a crucial role during festivals like

Lohri, Baisakhi, and Teeyan. These songs celebrate the joy of the seasons and

bring people together.

4. Communal and Participatory: Punjabi folk music is often performed in groups where

everyone participates. People sing together, clap, and dance, creating a sense of

community. It is common during celebrations such as weddings, harvest festivals,

and religious ceremonies.

Popular Forms of Punjabi Folk Music:

1. Boliyaan: Boliyaan are short, rhythmic couplets sung in quick succession. They are

often performed during the famous Punjabi dance forms like Bhangra and Giddha.

The lyrics are light-hearted and usually touch upon daily life events, teasing, and

relationships.

2. Tappa: This is a semi-classical form of Punjabi folk music with fast-paced, sharp, and

rhythmic compositions. Tappa reflects the lifestyle of the camel riders of Punjab's

sandy areas. It has evolved over time but retains its lively and bouncy nature.

3. Jugni: Jugni is a form of folk music that personifies a female spirit, often seen as a

wanderer who reflects on various social and political issues. Jugni songs are

reflective, philosophical, and often carry a message. They gained popularity during

British rule and are still performed to comment on modern-day issues.

4. Mirza-Sahiban: One of the popular tragic love stories of Punjab, Mirza-Sahiban has

been a subject of folk ballads for centuries. The story has been sung in many versions

by different folk singers and represents the romantic yet tragic side of Punjabi

folklore.

5. Sufi Folk Music: Sufi traditions have also deeply influenced Punjabi folk music. The

spiritual aspect of Sufi music is meant to connect the listener with the divine.

Famous Sufi poets like Baba Bulleh Shah, Waris Shah, and Shah Hussain are known

for their profound and soulful poetry, often sung in Punjabi folk music.

6. Heer Ranjha: Heer Ranjha is another famous love story that has inspired many folk

songs. The tragic tale of Heer and Ranjha is still sung in various villages across

Punjab, and it is one of the most beloved themes in Punjabi folk music.

7. Dhadi Jatha: Dhadi music is the narrative ballads sung by dhadis (musicians) who

sing about heroic deeds and battles. This form of folk music praises warriors,

particularly the Sikh warriors, and is performed at religious and cultural gatherings.

Instruments Used in Punjabi Folk Music:

Punjabi folk music uses several traditional instruments that are unique to the region:

1. Dhol: The dhol is the most iconic percussion instrument used in Punjabi music. It is a

large drum that is played with two sticks. The deep, booming sound of the dhol sets

the rhythm and is essential for dance forms like Bhangra.

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2. Tumbi: The tumbi is a one-stringed instrument that produces high-pitched, energetic

sounds. It is often used in fast-paced songs, especially in Bhangra music.

3. Algoza: The algoza is a double flute that produces a soothing and melodious sound.

It is often used in slow, soulful songs, especially during religious or devotional music.

4. Chimta: This is a percussion instrument made of two metal tongs with jingles

attached. The chimta is commonly used in folk music performances to add rhythm

and energy.

5. Sarangi: A stringed instrument that is often played during emotional or devotional

songs. Its deep, resonant sound can stir strong feelings in the listener.

6. Dholki: A smaller version of the dhol, the dholki is also a drum, but it produces softer

sounds and is often used in folk songs during weddings and other gatherings.

Folk Dances with Music:

Folk music is often accompanied by dance forms that bring the community together. The

two most popular Punjabi folk dances are:

1. Bhangra: Originally a dance celebrating the harvest season, Bhangra has become one

of the most well-known folk dances worldwide. It is fast-paced, energetic, and

accompanied by lively dhol beats and Boliyaan.

2. Giddha: Giddha is the female counterpart of Bhangra. It is a graceful dance

performed by women, and it involves rhythmic clapping, singing Boliyaan, and

expressing joy and celebration.

Modern Influence and Fusion:

Over the years, Punjabi folk music has evolved and been influenced by modern trends,

especially after the partition of India and Pakistan. With the advent of the film industry,

Punjabi folk music found its way into Bollywood films, which helped it reach a global

audience. The fusion of traditional instruments with modern beats has led to a revival of

folk music in new forms, such as Punjabi pop and Bhangra pop.

Artists like Gurdas Maan, Hans Raj Hans, and Surinder Kaur have kept Punjabi folk music

alive while giving it a contemporary touch. Today, Punjabi folk music enjoys immense

popularity, not only in Punjab but also among the diaspora in countries like Canada, the

United States, and the United Kingdom.

Importance of Punjabi Folk Music:

1. Cultural Identity: Folk music helps preserve and promote the rich culture and

traditions of Punjab. It is a way for people to stay connected to their roots, especially

for those living away from Punjab.

2. Social Commentary: Many folk songs comment on societal issues, politics, and the

human condition. Through music, people can voice their concerns and thoughts

about the world around them.

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3. Emotional Expression: Folk music provides an outlet for expressing emotions—

whether it's the joy of a wedding, the sorrow of separation, or the pride of a battle.

It connects people on an emotional level and helps them communicate their

feelings.

4. Religious and Spiritual Importance: Many Punjabi folk songs have a spiritual

element, especially those influenced by Sufi traditions. These songs are often

devotional, focusing on the love for God and the quest for divine connection.

Conclusion:

The folk music of Punjab is more than just songs and melodies; it is the heartbeat of Punjabi

culture. It tells stories of love, hardship, celebration, and faith. Rooted in centuries-old

traditions, it continues to evolve and adapt to the modern world while preserving its rich

history. The power of Punjabi folk music lies in its simplicity, its ability to bring people

together, and its deep connection to the soul of Punjab.

4. Give life sketch and contribution of Pt. Dalip Chander Bedi ji towards Indian

Classical Music.

Ans: Pandit Dalip Chandra Bedi was a renowned figure in Indian classical music, celebrated

for his immense contribution as a vocalist and educator, particularly in the Agra Gharana

style. His musical journey reflects deep dedication to preserving and nurturing classical

music traditions in India.

Early Life and Musical Training

Pandit Bedi was born in 1901 in Anandpur, Punjab, and his early exposure to music came

from the rich cultural heritage of the region. His musical training began under Uttam Singh,

a dhrupad exponent from the Tilwandi Gharana. However, his major growth as a musician

happened when he moved to Mumbai to learn from the legendary vocalist Bhaskarbuwa

Bakhale. Bhaskarbuwa was not just a musician but a pivotal figure in shaping the Hindustani

classical tradition, and this mentorship greatly influenced Bedi's style. After Bhaskarbuwa's

untimely death, Bedi continued his training with Faiyaz Khan, a respected maestro of the

Agra Gharana. He also learned from Alladiya Khan of the Jaipur Gharana, further broadening

his musical understanding.

Musical Career

Bedi's musical style was a blend of dhrupad and khayal traditions, emphasizing purity and

authenticity in raga presentation. His performances were marked by their smooth

transitions, well-crafted musical imagery, and adherence to classical forms. As a versatile

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musician, Bedi mastered various forms of music and won numerous awards throughout his

career. He was a vocalist of immense integrity, known for his uncompromising standards in

the rendition of ragas.

Despite his talent, Bedi did not pursue recording contracts extensively, which resulted in

only a few commercial recordings of his music being available today. Nonetheless, his

existing recordings give listeners a glimpse into his mastery over the craft.

Educator and Legacy

In the 1960s, as his voice began to weaken, Bedi shifted his focus towards teaching and

research. He believed in passing on the purest form of classical music to the next

generation. His students, spread across the world, include notable musicians like Amarnath,

M.R. Gautam, and Chinmoy Lahiri. Bedi's approach to teaching was rigorous; he was known

to challenge mediocrity and had high standards for his disciples.

Pandit Bedi was also involved in various research projects and served in advisory roles for

musical institutions. He contributed significantly to the development of curricula and

methods for teaching classical music, ensuring that the traditions were passed down in their

purest form. His influence extended beyond just his students; he played an active role in

shaping the contemporary understanding of Indian classical music during his lifetime.

Contribution to Indian Classical Music

Bedi's contributions go beyond performance and teaching. He was deeply invested in the

integrity of classical music and was known to publicly critique what he saw as the

degradation of musical standards. This commitment to preserving the sanctity of ragas

made him both a respected and feared figure in musical circles. His criticism, though often

harsh, was aimed at ensuring the survival of pure classical traditions.

Throughout his life, Pandit Bedi fought against the commercialization and dilution of Indian

classical music, advocating for a return to its roots. His work, both as a performer and

educator, helped preserve the rigor and depth of classical music. Even after he stopped

performing, his legacy continued through his research and his many students who carried

forward his teachings.

Pandit Dalip Chandra Bedi passed away on November 13, 1992, leaving behind a lasting

legacy in the world of Indian classical music. His life’s work continues to inspire musicians

and music lovers alike.

Conclusion

Pandit Dalip Chandra Bedi's life and contributions to Indian classical music are a testament

to his dedication to the art. He was not only an accomplished musician but also a passionate

educator and advocate for preserving the purity of classical music traditions. Through his

performances, teaching, and research, he left an indelible mark on the world of Hindustani

classical music. His legacy lives on through his disciples and the countless musicians he

influenced during his lifetime

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SECTION-C

5. Give full description of the following:-

(a) Rag-Bhairav

(b) Tal-Tilwara

Ans: (a) Raga Bhairav:

Raga Bhairav is an ancient and revered raga in Hindustani classical music, associated with

the emotion of devotion and seriousness. This raga is part of the Bhairav Thaat, and it is

often sung during the early morning hours (4–6 AM). Historically, it is believed to have been

created by Lord Shiva, which adds to its spiritual depth.

Structure of Raga Bhairav:

1. Aaroh (Ascending Scale):

o Sa, Re (komal), Ga, Ma, Pa, Dha (komal), Ni, SA

o The komal (flat) notes, especially Re and Dha, are the essence of this raga,

creating a somber and meditative mood.

2. Avroh (Descending Scale):

o SA, Ni, Dha (komal), Pa, Ma, Ga, Re (komal), Sa

3. Vadi and Samvadi:

o The vadi (dominant note) is Dha, and the samvadi (second important note) is

Re. These two notes are particularly emphasized in compositions to bring out

the raga's emotion.

4. Pakad (Signature Phrase):

o Sa, Re (komal), Ga, Ma, Pa, Dha (komal), Pa

o This phrase helps identify the raga during performances.

The flat notes (Re and Dha) are often sung with a slight oscillation or vibrato, which is key to

bringing out the mood of Raga Bhairav. This raga is often chosen to express emotions like

devotion, seriousness, and even an introspective calmness.

Characteristics:

• Jati: Bhairav is a Sampurna-Sampurna raga, meaning it uses all seven notes (swaras)

in both its ascending and descending movements.

• Similar Ragas: Some ragas similar to Bhairav are Ahir Bhairav, Anand Bhairav, and

Bhairav Bahar, but each has its unique flavor.

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Performance Style:

Raga Bhairav is usually performed with slow, contemplative aalaaps (melodic

improvisations), gradually building into a more structured composition or bandish. The slow

unfolding of the raga in a performance allows the artist to explore its full emotional range.

Traditional compositions in Bhairav include devotional or serious themes, reflecting the

somber yet majestic nature of the raga.

Many classical and semi-classical songs have been composed in Bhairav, reflecting its

versatility in bringing out deep emotions.

(b) Tala Tilwara:

Tala Tilwara is a rhythmic cycle (tala) widely used in Hindustani classical music, particularly

in semi-classical forms and devotional songs. It is a medium-paced tala, with a structure that

provides a steady rhythmic foundation.

Structure of Tala Tilwara:

1. Matra (Beats): It has 16 beats, divided into four sections.

2. Vibhag (Divisions): The 16 beats are divided into 4 vibhags (sections), each with 4

beats.

o This division creates a balanced rhythm that is easier to follow during

performances.

3. Theka (Rhythmic Pattern):

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

o This is the basic rhythmic pattern, with emphasis on certain beats (the "dha"

and "tin" strokes) to mark the flow of the rhythm.

Characteristics of Tilwara:

• Tempo: Tilwara is often performed at a medium tempo, which allows for a graceful,

flowing style of singing or playing.

• Usage: This tala is commonly used in lighter classical forms, like Bhajans (devotional

songs) or Thumris. Its relatively simple and even structure makes it suitable for

compositions where the melody is more important than intricate rhythmic patterns.

Tilwara is appreciated for its simplicity and smooth rhythm, making it an ideal choice for

pieces where the performer wishes to maintain a balance between melody and rhythm

without overwhelming the listener with complex rhythmic changes.

Conclusion:

In both Raga Bhairav and Tala Tilwara, the emphasis is on evoking specific emotions and

maintaining a balanced, structured form. While Raga Bhairav draws on ancient spirituality

and devotion, expressing deep emotions through its unique use of flat notes, Tala Tilwara

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provides a smooth, steady rhythmic base that complements Bhairav’s solemn mood.

Together, they form a beautiful combination for performances that focus on meditation,

devotion, and serious reflection in the context of Hindustani classical music.

6. Write notation of one Drut Khayal in any Raga from your course.

Ans: In Hindustani classical music, a "Drut Khayal" is a fast-tempo rendition of a raga,

typically performed after a slower "Vilambit Khayal." It focuses on showcasing the vocalist's

technical skills through rapid improvisations within the raga's framework. The word "Khayal"

means imagination, and this style emphasizes the singer's creativity and command over

both melody (raga) and rhythm (tala).

Structure of a Drut Khayal

A typical Khayal performance is divided into two parts:

1. Bada Khayal (Vilambit): A slow, elaborate section that allows the vocalist to unfold

the raga gradually.

2. Chhota Khayal (Drut): A fast-tempo section that follows the Bada Khayal. The Drut

Khayal, which you're asking about, is where the tempo increases, and the singer

performs a pre-composed piece (bandish) with intricate improvisations, often

including fast-paced taans (rapid melodic runs) and rhythmic variations

Drut Khayal Notation in a Raga

For example, let's take Raga Yaman—a popular raga often used in vocal performances. The

raga uses the notes:

• Aroha (ascending): N’ R G M D N S

• Avaroha (descending): S N D P M G R S

• Vadi (primary note): G

• Samvadi (secondary note): N

A Drut Khayal bandish in Raga Yaman would be set in a fast tempo (usually in a tala like

Teentaal, which is a 16-beat cycle). The vocalist begins by rendering the sthayi (main line of

the composition) and follows it with the antara (second part), incorporating improvisations

like meend (gliding between notes) and gamak (oscillations) as the performance progresses.

Example of Drut Khayal in Raga Yaman (simplified):

Sthayi (main theme):

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• "Eri ali piya bina..."

Antara (second part):

• "Sajan sang lagi..."

Here, the melody revolves around the key notes of Raga Yaman, and the improvisations are

built on the singer’s imagination while adhering to the structure of the raga.

Accompaniment

• Tabla: Provides the rhythmic cycle (tala) and plays a crucial role in creating dynamic

interactions with the vocalist.

• Harmonium or Sarangi: Provides a melodic foundation, helping the vocalist maintain

pitch

Performance and Interpretation

Each gharana (school of music) has its unique approach to Drut Khayal. For instance:

• The Gwalior Gharana emphasizes clear, systematic development of ragas with rapid

taans.

• The Kirana Gharana is known for its slow, meditative alap and emotional expression

even within fast-tempo compositions like Drut Khayal(

A Drut Khayal performance not only displays the singer's technical prowess but also allows

for the emotional depth and beauty of the raga to shine through, making it a vital

component of Hindustani classical music.

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7. What do you understand by Classical Gyan Shailly? Describe the main Classical Gayan

Shaillies used in Gurmat Sangeet.

Ans: Classical Gayan Shaili refers to the traditional styles or methods of singing in Indian

classical music. In the context of Gurmat Sangeet, which is the Sikh devotional music

tradition, several classical styles are used. Gurmat Sangeet emphasizes the singing of

Gurbani (the verses from Guru Granth Sahib) using specific classical music principles, while

maintaining a spiritual essence.

Classical Gayan Shaili in Gurmat Sangeet

Gurmat Sangeet is deeply connected to the ancient Indian classical music tradition. It

revolves around the Raag system, where different hymns (Shabads) are sung in various

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Raags or musical modes. Each Raag creates a specific mood and is carefully chosen to

enhance the meaning of the spiritual text being sung.

Key Classical Gayan Shailis Used in Gurmat Sangeet

1. Dhrupad: One of the oldest styles of classical singing in Indian music, Dhrupad

focuses on precision in pronunciation and melody. It is structured, slow-paced, and

deeply spiritual in nature. In Gurmat Sangeet, the Dhrupad style is used to

emphasize the devotion and seriousness of the Shabad, enabling the singer to focus

deeply on the spiritual message.

2. Khyal: This style is more flexible and allows for improvisation. Unlike Dhrupad, Khyal

singing focuses on emotional expression, giving the singer room to experiment with

melodies within a Raag. In Gurmat Sangeet, Khyal singing allows the Raagi (singer) to

express the emotional depth of the Shabad more freely.

3. Tappa: Tappa is a fast-paced and rhythmic style of classical music that conveys lively

emotions. In Gurmat Sangeet, it is used occasionally to bring energy and a sense of

joy into the performance, especially when the Shabad calls for a more exuberant

expression of devotion.

4. Thumri: While not as commonly used in Gurmat Sangeet, Thumri is a semi-classical

form known for its light, romantic, and devotional aspects. When used in Gurmat

Sangeet, it is adapted to match the spiritual context, focusing on the love and

devotion towards God.

5. Prabandh: This is an ancient style that predates Dhrupad and is characterized by a

strict structure, including sections like Asthai and Antara (comparable to the verse-

chorus form in Western music). This form is often used in Gurmat Sangeet to

organize the Shabad in a way that enhances its message.

Unique Aspects of Gurmat Sangeet

1. Raags in Guru Granth Sahib: The Guru Granth Sahib, the central religious scripture

of Sikhism, is organized according to Raags, which guide how each Shabad should be

sung. There are 31 main Raags in the scripture, and each one sets a spiritual tone for

the hymns.

2. Ghar System: Another important feature of Gurmat Sangeet is the use of the Ghar

system. The term "Ghar" indicates the musical structure or rhythm in which the

Shabad should be performed. It can be understood as the key or scale that governs

the melody of the hymn. The Ghar system helps to maintain the integrity and

precision of the music while singing Gurbani.

3. Rahaao: In Gurmat Sangeet, Rahaao represents a pause or break that emphasizes

the central theme of a Shabad. The line with Rahaao is often repeated and acts as

the main idea, with the other verses supporting or explaining this central concept.

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4. Instruments in Gurmat Sangeet: Classical instruments such as the Taus, Sarangi,

Rabab, and Dilruba are traditionally used in Gurmat Sangeet. These instruments are

designed to complement the classical vocal styles and enhance the spiritual

experience of the Shabad.

Importance of Classical Gayan Shaili in Gurmat Sangeet

• Spiritual Depth: By using classical forms like Dhrupad and Khyal, Gurmat Sangeet

maintains the spiritual intensity required for singing Gurbani. The classical structures

help in focusing the mind on the meaning of the Shabad rather than just the melody.

• Cultural Preservation: Gurmat Sangeet preserves not only the spiritual messages of

Sikhism but also the traditional Indian classical music forms. This preservation is

important for maintaining a rich cultural heritage within the Sikh community.

• Musical Complexity: The use of Raags, Ghars, and various classical forms brings

complexity to Gurmat Sangeet, making it a sophisticated form of devotional music.

This complexity requires dedication and skill from the Raagis, who are trained in

both the spiritual and musical aspects of the tradition.

Revival and Modern Challenges

In recent times, there has been a growing movement to preserve and revive the traditional

forms of Gurmat Sangeet. Historically, the practice was passed down through oral traditions

and specific Gharanas (families of musicians). However, the advent of modern music has led

to a decline in the classical training required for Gurmat Sangeet. Despite this, efforts are

being made to reintroduce traditional instruments, classical Gayan Shailis, and Raag-based

singing into Sikh worship practices.

Many institutions and scholars advocate for the preservation of Gurmat Sangeet in its

original form to ensure that future generations can experience it as the Gurus intended. The

importance of retaining the classical Gayan Shailis is seen as vital not just for religious

reasons but also for the preservation of Sikh identity and heritage.

In conclusion, Classical Gayan Shailis such as Dhrupad, Khyal, and Tappa play a crucial role in

the performance of Gurmat Sangeet. These classical forms help maintain the spiritual and

emotional depth of the music while adhering to the traditional Indian musical system. By

preserving these forms, Gurmat Sangeet continues to offer a profound and culturally rich

way of connecting with Sikh spiritual teachings

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8. Write in detail the contribution of Sri Guru Arjun Dev Ji in the field of Indian Music.

Ans: Sri Guru Arjun Dev Ji, the fifth Guru of the Sikhs, made an immense contribution to

Indian music, particularly in the Sikh tradition. His role in the development of Sikh

devotional music (Gurmat Sangeet) was revolutionary, and it continues to shape Sikh

musical heritage even today.

Compilation of the Adi Granth

One of Guru Arjun Dev Ji's most notable contributions was the compilation of the Adi

Granth (now known as the Guru Granth Sahib), the central religious scripture of Sikhism. He

collected hymns, verses, and teachings from the first four Gurus, along with compositions

from saints and poets from diverse religious backgrounds, such as Hinduism and Islam. Guru

Arjun Dev Ji ensured that the verses were set in specific musical ragas (classical Indian

modes of music). This was a unique approach as it not only preserved the spiritual essence

of the teachings but also tied them to specific melodic structures.

The Adi Granth contains 31 main ragas, which were used by Guru Arjun Dev Ji to create a

structured form of singing shabads (hymns). These ragas serve as the foundation for Sikh

devotional music, encouraging listeners to experience spiritual elevation through music.

Development of Gurmat Sangeet

Guru Arjun Dev Ji played a pivotal role in formalizing Gurmat Sangeet, the Sikh musical

tradition focused on singing shabads from the Guru Granth Sahib. He introduced the use of

stringed instruments like the rabab (a traditional string instrument) and the saranda for

kirtan (devotional singing) in Sikh congregations. By doing this, he emphasized the role of

music in spiritual practice, using it as a medium to connect with the divine.

The importance of music in Guru Arjun Dev Ji's teachings is evident in the tradition of

singing hymns in Sikh worship, which continues to this day. His work laid the foundation for

kirtan as a core aspect of Sikh worship, where singing sacred hymns became a primary form

of prayer and meditation.

Integration of Classical Indian Music

Guru Arjun Dev Ji had a deep understanding of Indian classical music, especially the Dhrupad

and Dhamar styles, which were popular during his time. He integrated these styles into Sikh

devotional music. Dhrupad, known for its meditative and serious tone, was particularly well-

suited to the spiritual themes of Sikh hymns. This integration brought a classical element to

Sikh music while making it accessible to the common people, combining spiritual depth with

musical richness.

Moreover, Guru Arjun Dev Ji encouraged the development of Rababi musicians—Muslim

musicians who played the rabab—to perform kirtan in Sikh congregations. This not only

enriched the musical tradition but also demonstrated the inclusive nature of Sikhism,

bridging religious and cultural divides through music.

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Establishment of the Harmandir Sahib

Guru Arjun Dev Ji also oversaw the construction of the Harmandir Sahib (Golden Temple) in

Amritsar, which he envisioned as a spiritual and musical center for the Sikhs. The temple

became a hub for the performance of kirtan and the propagation of Sikh music. Even today,

the Harmandir Sahib remains one of the most significant places for Sikh music, where kirtan

is sung continuously in various ragas throughout the day.

Legacy of Sikh Music

Guru Arjun Dev Ji’s contributions to Indian music were not limited to his own time. His

influence continued through subsequent generations of Sikh musicians and Gurus. Over the

centuries, Gurmat Sangeet has evolved, but the foundational principles laid by Guru Arjun

Dev Ji remain intact. Today, shabad kirtan is an integral part of Sikh worship, performed in

gurdwaras worldwide, and the ragas and instruments introduced by Guru Arjun Dev Ji are

still central to Sikh devotional music.

Guru Arjun Dev Ji’s approach to music was deeply spiritual. He saw music as a pathway to

divine connection and inner peace, and his innovations in this field helped to make

spirituality accessible through the universal language of music. His integration of ragas and

instruments, along with his vision for the Adi Granth as a living scripture sung in kirtan,

ensured that music would remain a core part of Sikh religious practice for generations to

come.

In conclusion, Sri Guru Arjun Dev Ji’s contributions to Indian music are vast and significant.

By incorporating classical ragas into the Guru Granth Sahib, formalizing Gurmat Sangeet,

and encouraging musical inclusivity, he created a rich musical tradition that continues to

inspire millions of Sikhs around the world. His legacy in the field of Indian music remains one

of spiritual innovation, inclusiveness, and devotion.

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