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GNDU Queson Paper 2021
BA 5
th
Semester
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
SECTION-A
1. Explain merits and demerits of Indian Notaon System.
2. Short notes on the following:
(i) Thumri
(ii) Chaturanga.
SECTION-B
3. Throw light on the contribuon of Surinder Kaur in the eld of Music.
4. Describe in detail folk music of Punjab.
SECTION-C
5. Write notaon of tala Tilwara with single and double layakaries.
6. Write notaon of raga Kedar along with two taana.
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SECTION-D
7. Write an essay on Devoonal Music.
8. How will you explain role of Voice Culture in Music?
GNDU Answer Paper 2021
BA 5
th
Semester
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
SECTION-A
1. Explain merits and demerits of Indian Notaon System.
Ans: Indian Notaon System: Merits and Demerits
Introducon: A Story Begins
Imagine a young student named Aarav sing in a classroom in Lucknow. His teacher writes a
number on the board:
1,00,000
Then writes a similar-looking number:
100,000
Aarav scratches his head. Both numbers seem to be the same in value, but they look
dierent in how they are wrien. His teacher smiles and explains, “The rst one is wrien
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using the Indian Notaon System, and the second one is in the Internaonal Notaon
System.”
Aarav becomes curious. “Why do we use a dierent number system in India?” he asks. The
teacher replies, “Let’s explore it together — not just how it works, but also why it has
advantages and some limitaons.”
Now, let’s dive into the topic just like Aarav did — in a step-by-step, easy, and interesng
way.
What is the Indian Notaon System?
The Indian Notaon System is a way of wring large numbers that is mainly used in countries
like India, Bangladesh, Nepal, and Pakistan. This system divides numbers dierently and uses
unique terms like:
• Thousand (1,000)
• Lakh (1,00,000)
• Crore (1,00,00,000)
• Arab (1,00,00,00,000)
Digit Grouping:
• First, we group the last three digits.
• Then, we group every two digits aer that.
Example:
Number (in gures)
Indian System
Internaonal System
1000
1,000
1,000
100000
1,00,000 (1 Lakh)
100,000 (Hundred Thousand)
10000000
1,00,00,000 (1 Crore)
10,000,000 (Ten Million)
This style makes large numbers easier to read and say in local terms.
Merits of the Indian Notaon System
1. Familiar and Easy for Indians
In daily life, we constantly use words like lakh and crore. It feels natural and is part of our
culture. Even in local news or market talk, you’ll hear people saying:
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• “This at is worth 75 lakh.”
• “He got a loan of 2 crore rupees.”
➡ These expressions are easy to understand for most Indians.
2. Beer for Local Communicaon
From vegetable vendors to businessmen, everyone nds it easier to use the Indian format.
Most people in rural areas and small towns are not used to “millions” and “billions.”
➡ Saying ₹3 crore is far simpler for them than ₹30 million.
3. Quick Reading of Big Numbers
The grouping paern (3,2,2,...) helps people break down large gures quickly.
➡ 1,25,43,210 is instantly read as “1 crore 25 lakh 43 thousand 210,” which is easy for
Indians to grasp without doing mental conversion.
4. Deep Historical Roots
India was the birthplace of zero and the decimal system. Our tradional number system
carries forward this legacy.
➡ It’s not just a system — it’s a part of India’s mathemacal heritage.
5. Useful in Government and Public Life
Most Indian government data, budgets, and media reports use lakh and crore. It makes
informaon accessible to the general public.
➡ Example: Budget reports like “₹1.5 lakh crore allocated to health sector” are easy to
relate to.
Demerits of the Indian Notaon System
1. Not Globally Recognized
The Indian system is limited to a few countries. In the rest of the world, the Internaonal
system (using million, billion) is the standard.
➡ This creates problems in global trade, educaon, nance, and science.
2. Not Compable with Technology and Soware
Most soware — like Excel, accounng tools, nancial apps — are built using the
Internaonal System. When Indian-style numbers are entered, it can lead to formang
errors or confusion.
➡ For example, ₹10,00,000 may be misread as ₹1,000,000 in the wrong context.
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3. Can Confuse Foreigners
Foreigners working or studying in India oen get confused by terms like lakh and crore.
➡ Example: An American hearing “your salary is 24 lakh per year” may not immediately
understand it’s ₹2.4 million or roughly $30,000.
4. Not Praccal in Scienc and Technical Fields
In scienc and internaonal academic work, numbers are usually very large or very small.
Sciensts prefer scienc notaon or internaonal terms.
➡ You’ll never nd a physics textbook using crore or lakh. Instead, it will say 10 million or 1 ×
10⁷.
5. Risk of Misunderstanding in Global Business
Let’s say Aarav starts a business and sends a quotaon to a client abroad. He writes the
project cost as ₹1,00,00,000. The client thinks it’s ₹1 million (10 lakh), but Aarav actually
meant ₹10 million (1 crore). Misunderstandings like this can hurt business deals.
➡ That’s why global companies oen sck to the Internaonal format for clarity.
Real-Life Example: Learning from Mistakes
Aarav’s cousin Riya runs an online clothing store and expands to sell internaonally. One day,
she receives an order from Australia and sends an invoice saying the product price is
₹2,50,000.
The client replies, “That’s too expensive for a jacket!”
Only then does she realize the customer thought it was 250,000 Australian dollars, not ₹2.5
lakh (around $4,000 AUD).
➡ That’s when Riya switched to using both Indian and Internaonal notaons side-by-side
for clarity.
Conclusion: A Balanced View
The Indian Notaon System is unique, tradional, and makes life easy for millions of Indians.
It reects our culture and simplies nancial talk in our own language.
But in a world that is becoming more connected and global, we also need to understand and
use the Internaonal Number System — especially in tech, business, and scienc
communicaon.
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2. Short notes on the following:
(i) Thumri
(ii) Chaturanga.
Ans: Indian classical music is like a colorful garden with many dierent types of owers—
each ower represenng a unique style or form. Just like no two owers are exactly the
same, each musical form in Indian classical music has its own avor, emoon, and beauty.
Among these many forms, Thumri and Chaturanga stand out because of their charm,
creavity, and connecon to deep emoons. Let’s take a closer, story-like look at both of
these beauful forms.
(i) Thumri – The Romanc Soul of Indian Classical Music
Imagine you’re walking through the royal courts of Lucknow or Banaras in the 19th century.
The room is lit with so lamps, the scent of roses lls the air, and there’s a singer sing
gracefully, singing a melodious, emoonal song. Her voice is full of love, longing, and
delicate expression. This, my friend, is Thumri—a semi-classical music form that touches the
heart.
Origin and Background
Thumri is believed to have developed in the 18th and 19th centuries, mainly in the court of
Nawab Wajid Ali Shah of Lucknow. He was not just a king but also a poet, dancer, and music
lover. He encouraged arsts to explore beauty and emoons in art. That’s when Thumri truly
began to ourish.
Later, the Banaras gharana (musical tradion) also became a major center for Thumri.
Famous arsts like Rasoolan Bai and Siddheshwari Devi made Thumri popular in Banaras.
Meaning of ‘Thumri’
The word ‘Thumri’ is believed to come from the Hindi word ‘thumakna’, which means to
walk or dance with grace and beauty—like how a child takes gentle, playful steps. This is
reected in the style of Thumri, which is graceful, gentle, and full of emoon.
Themes and Emoons
Thumri is known for its romanc and devoonal themes. It oen talks about:
• Love and longing between Radha and Krishna
• Viraha (separaon from the beloved)
• Sawan (monsoon) and the feelings it brings
• Fesvals like Holi, where love and colors mix together
Unlike Khayal or Dhrupad, which focus more on technical brilliance and raga purity, Thumri
allows the singer to express feelings freely. It’s like telling a story through music.
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Structure and Language
Thumri usually has a simple structure, which makes it easy to sing and understand:
• Bandish (composion) is kept short.
• Language is mostly Hindi, Awadhi, or Braj Bhasha, which are so and poec.
• The music is based on light classical ragas like Khamaj, Bhairavi, or Pilu.
Types of Thumri
There are mainly two styles:
1. Poorab Ang Thumri (Eastern style) – From Banaras and Lucknow; more expressive
and poec.
2. Punjabi Thumri – Inuenced by folk and more rhythmic.
Importance in Indian Music
Thumri plays a unique role by bridging the gap between classical and light music. It has
inspired many other forms like Dadra, Kajri, and even Hindi lm music. Many classical singers
perform Thumri to show their emoonal depth and musical soness.
(ii) Chaturanga – The Four-Faced Jewel of Classical Music
Now, let’s turn to a lesser-known but fascinang form called Chaturanga. If Thumri is the
emoonal storyteller, then Chaturanga is the clever poet and composer—full of variety,
playfulness, and arsc depth.
What is Chaturanga?
The word Chaturanga means "four parts" or "four limbs" (from Sanskrit: Chatur = four, Anga
= parts). Just like the ancient Indian game of Chaturanga (the ancestor of chess) had four
divisions in the army, this musical form also has four dierent parts blended into one
composion.
The Four Elements of Chaturanga
Chaturanga includes the following four components, all woven into one musical piece:
1. Sargam – Singing the notes like Sa Re Ga Ma.
2. Tarana – Use of rhythmic syllables like ‘tanana dere na’.
3. Bol – Meaningful lyrics or poec lines in a language like Hindi or Sanskrit.
4. Nom Tom or Paran – Percussion syllables or sounds borrowed from tabla/pakhawaj
or the Dhrupad style.
Imagine a single musical composion that jumps from pure notes to lyrical poetry, to
rhythmic dance-like syllables. That’s what makes Chaturanga so lively and interesng.
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Origin and Usage
Chaturanga gained popularity in the 18th and 19th centuries, mostly as a composional
form to showcase creavity. It’s more rare compared to Thumri or Khayal, and is usually
sung by arsts who want to show their command over dierent styles.
Though it was never a mainstream form, Chaturanga became popular in music schools and
among expert singers who wanted to explore the depth of rhythm, melody, and poetry
together.
Style and Performance
• Chaturanga is set to a tala (rhythmic cycle), just like other classical composions.
• It oen ends in a fast tempo, making it energec and dramac.
• The singer must switch between dierent styles quickly, which requires skill and
condence.
• It is usually performed aer a Khayal, as a lighter and more experimental piece.
Example of How It Sounds
A Chaturanga performance might begin with:
• Sargam: “Sa Re Ga Ma Pa…”
• Then jump to: “Tanana derena, nalom tom…”
• Then sing a line like: “Shri Krishna Govind Hare Murari…”
• Then use percussion syllables: “Dha Dhin Ta – Na Ka Dhin…”
The listener experiences a musical rollercoaster—going from melody to rhythm, to lyrics,
and back.
Conclusion: A Musical Bouquet
Both Thumri and Chaturanga are like beauful owers in the garden of Indian classical
music, but with very dierent fragrances.
• Thumri is emoonal, romanc, and so, like the gentle rain in the monsoon. It tells
stories of love and separaon with deep feeling.
• Chaturanga is playful, complex, and excing, like a game that mixes rhythm, poetry,
and melody all at once.
Together, they show how rich and versale Indian classical music is—not just about strict
rules, but also about freedom, creavity, and emoonal expression.
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SECTION-B
3. Throw light on the contribuon of Surinder Kaur in the eld of Music.
Ans: In the heart of Punjab, where mustard elds dance with the wind and dhol beats echo
during every celebraon, a legendary voice once rose — a voice that carried the soul of
Punjabi folk music to every corner of the world. That voice belonged to Surinder Kaur,
lovingly remembered as the "Nighngale of Punjab."
Her journey in the world of music is not just the story of a singer. It is the tale of a woman
who preserved Punjabi folk culture, gave strength to female voices, and le behind a musical
legacy that is sll cherished today. Let us walk through her inspiring journey and understand
her immense contribuon to music.
Early Life: Born with a Song in Her Heart
Surinder Kaur was born on 23 November 1929 in Lahore (then part of Brish India, now in
Pakistan). From a very young age, she was drawn to music. The sounds of tradional Punjabi
folk songs, sung by women during weddings and fesvals, le a deep impression on her.
Music wasn’t just entertainment in her home—it was a way of life.
In those mes, it was rare for girls to think of singing as a profession. But Surinder Kaur was
dierent. Encouraged by her family, especially her father and elder sister, she started formal
training in classical music. This training later helped her blend folk, classical, and even light
music in her singing style.
The Big Break: A Voice that Touched Millions
In 1943, when she was just 13, Surinder Kaur recorded her rst song for the Lahore Radio
Staon. This was followed by her debut in the Hindi lm industry with a duet with her sister
Parkash Kaur: “Maavan 'te dhiyan ral baithiyan”. This song became an instant hit, touching
the hearts of Punjabi listeners everywhere.
Later, the family moved to Delhi aer the Paron of India in 1947. Even aer losing their
home in Lahore, Surinder Kaur did not give up on music. In fact, it became a healing force for
her and many others who had faced the trauma of paron.
Preserving Punjabi Folk Music
Surinder Kaur’s biggest contribuon was her commitment to preserving Punjabi folk music.
At a me when Western and Bollywood music was taking over, she kept the old Punjabi
tradions alive through her songs.
She sang:
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• Wedding songs (suhag, ghorhiyan)
• Lullabies
• Seasonal songs like teeyan and sawan
• Songs of love, separaon, and longing
Each song she sang had a story. For example, her famous song “Lathe di chadar” is about a
young woman’s playful and romanc feelings. Another song “Madhaniyan” is a biersweet
track sung by a bride as she leaves her parental home aer marriage.
These were not just songs—they were emoonal stories of Punjabi women, sung by a
woman who truly understood them. She made the experiences of ordinary women beauful
through her music.
Surinder Kaur as a Cultural Ambassador
Surinder Kaur didn’t limit her voice to India alone. She performed in countries like Canada,
the USA, the UK, and more. Wherever Punjabis lived, they wanted to hear her voice.
She was not just singing songs — she was carrying Punjabi culture across borders.
Immigrants, who missed their homeland, felt a deep connecon to their roots when they
heard her voice.
Her performances abroad helped keep the Punjabi language and tradions alive in foreign
lands, especially for the second generaon who were born outside India.
Collaboraons and Experiments
Another special thing about Surinder Kaur was her versality. She collaborated with many
famous arsts and poets, including:
• Amrita Pritam (the celebrated Punjabi poetess)
• Harbhajan Singh and Shiv Kumar Batalvi
She turned their poetry into melodious songs that touched souls. Her ability to blend poetry
with emoon made her songs meless.
She also experimented with dierent genres — singing shabads (devoonal hymns), classical
songs, and even playback songs for Punjabi and Hindi lms.
Empowering Female Voices
In a male-dominated music industry, Surinder Kaur stood tall as an independent female
arst. She opened doors for many other women to follow their passion in music.
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She oen said, “Music is not just a profession. It is a way to express feelings, a way to
preserve identy.”
She inspired women to sing boldly, to sing in their own language, and to be proud of their
heritage. Her own sister Parkash Kaur and later her daughter Dolly Guleria followed in her
footsteps, making it a family tradion of empowering female singers.
Recognion and Awards
Surinder Kaur’s hard work and talent did not go unnoced. She received many honors during
her lifeme, including:
• Padma Shri (one of India’s highest civilian awards) in 2006
• Sangeet Natak Akademi Award
• Lifeme Achievement Awards from various cultural organizaons
But perhaps her biggest reward was the love of the people. Even today, her songs are played
at Punjabi weddings, fesvals, and cultural events.
Later Life and Legacy
Even in her old age, Surinder Kaur never stopped singing. She connued to perform, teach
young singers, and promote Punjabi culture unl her last days. She passed away on 15 June
2006, but her music lives on.
Her daughter Dolly Guleria and granddaughter connue her legacy by performing her songs
and teaching the next generaon.
Today, Surinder Kaur is not just remembered as a singer. She is celebrated as the mother of
Punjabi folk music, a cultural icon, and a voice that united generaons.
Conclusion: A Melody That Never Fades
Surinder Kaur’s contribuon to music goes far beyond fame or awards. She preserved the
soul of Punjabi folk tradions, gave voice to women's emoons, and spread the richness of
Punjabi culture across the world.
Through her songs, she made people laugh, cry, remember their roots, and most importantly
— feel proud of who they are.
She proved that music is not just about rhythm or tune — it’s about connecng hearts,
telling stories, and keeping culture alive.
In every “suhag” sung at a wedding, in every “sawan da geet” sung during the monsoons,
Surinder Kaur lives on — like a melody that never fades.
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4. Describe in detail folk music of Punjab.
Ans: Folk Music of Punjab: The Soulful Voice of the Land
Imagine walking through the green elds of Punjab early in the morning. The air is fresh, the
earth smells of crops, and somewhere in the distance, you hear a melodious voice singing a
soulful tune. That’s the essence of Punjabi folk music—natural, emoonal, and deeply
rooted in everyday life.
Folk music is not just a form of entertainment in Punjab; it’s a living tradion that reects
the joys, sorrows, hopes, and dreams of the people. It is the music of the common people,
sung without the need for formal training. Let’s dive deeper into this colorful and vibrant
world of Punjab’s folk music.
The Roots of Punjabi Folk Music
Punjab’s culture has always been rich and expressive. The folk music of Punjab has evolved
over centuries, shaped by the region's history, fesvals, and rural lifestyle.
The word "folk" itself means belonging to the people, and in Punjab, music is something
people are born into. Whether it’s harvesng the crops, celebrang a wedding, or mourning
a loss, music is always there, like a companion in every walk of life.
This music was tradionally passed down orally—from one generaon to another. People
learned songs from their elders, not from books or music classes. The language used was
simple Punjabi, full of emoons, and easy to remember.
Instruments of Folk Music
Before we get into the types of songs, it’s important to talk about the musical instruments
that give life to folk music. Most of them are handmade and have unique sounds:
1. Tumbi
A small, single-stringed instrument, the tumbi is one of the most iconic Punjabi instruments.
Its sharp, bouncing sound is oen heard in Bhangra and other upbeat songs.
2. Dhol
This double-sided drum is the heartbeat of Punjabi celebraons. Its deep and loud beats can
make anyone want to dance. It’s used in Bhangra, Giddha, and almost every fesve occasion.
3. Chimta
This tongue-like metal instrument has lile bells aached and is played by striking both arms
together. It creates a rhythmic jingling sound.
4. Algoza
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A wind instrument played with both hands and both mouthpieces at once. It creates a
unique, almost haunng melody that is oen used in love songs and spiritual tunes.
5. Dholki
A smaller version of the dhol, the dholki is used mainly in household ceremonies like
weddings or religious gatherings.
Each instrument has its role, and together they create a symphony that is raw, rhythmic, and
real.
Types of Punjabi Folk Songs
Folk music is oen categorized based on the occasion or emoon it represents. Here are
some of the most popular types:
1. Boliyaan
These are short, wiy couplets sung by women during funcons, especially during Giddha
(female folk dance). Each boli (verse) expresses an emoon—be it fun, sarcasm, love, or
frustraon. They oen make people laugh or blush.
2. Tappay
Tappay are fast-paced songs that focus on romance and teasing. Oen sung in a playful back-
and-forth between men and women, they are full of clever wordplay and emoonal energy.
3. Jugni
The word Jugni means a female spirit. In music, Jugni is a way to comment on social issues in
a poec manner. It’s oen humorous but deep in meaning. Famous singers like Alam Lohar
and Arif Lohar made Jugni internaonally popular.
4. Suhag and Ghorhian
These songs are sung during weddings. Suhag songs express the emoons of the bride and
her family, while Ghorhian are sung to bless the groom’s procession. They’re rich in
emoons like love, longing, and even sorrow.
5. Lori (Lullabies)
Mothers sing lullabies to their babies to help them sleep. These songs are so and tender,
lled with love and dreams.
6. Vaars
These are heroic ballads that talk about bravery and sacrice. Guru Gobind Singh Ji's war
poetry and stories of Sikh warriors like Hari Singh Nalwa and Baba Deep Singh are sung in
this style to inspire courage.
7. Su and Spiritual Songs
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Punjab also has a deep Su tradion, and many folk songs are inspired by mysc poets like
Bulleh Shah, Waris Shah, and Shah Hussain. Their poetry speaks about love for the divine
and is oen performed with great emoon.
Folk Singers Who Became Legends
Many Punjabi folk singers helped preserve and promote this music. Some of them became
legends:
• Surinder Kaur – Known as the ‘Nighngale of Punjab’, she brought women's voices to
the mainstream.
• Alam Lohar – Famous for popularizing Jugni and war ballads.
• Gurdas Maan – Though he blends folk with modern elements, his lyrics are deeply
rooted in folk tradions.
• Kuldeep Manak – Known for singing ‘kaliyan’ (tradional ballads) and heroic tales.
Folk Music in Modern Times
Today, while technology and western music styles have inuenced Punjabi music, folk
tradions sll hold a special place. Many new singers like Sander Sartaj, Harshdeep Kaur,
and Neha Bhasin are blending folk with pop, keeping the soul of Punjab alive.
Even in movies and stage performances, you’ll nd tradional instruments, lyrics, and
rhythms. And during fesvals like Lohri, Baisakhi, or Teeyan, folk music is played
everywhere—from villages to internaonal Punjabi communies.
Why Folk Music Sll Maers
Even with so many changes in society, folk music connues to connect people to their roots.
Here’s why it’s important:
• Cultural Identy: It keeps the Punjabi language, customs, and values alive.
• Emoonal Healing: Folk songs are a way of expressing hidden emoons, both happy
and sad.
• Social Awareness: Through songs like Jugni or Vaars, people learn about history,
morals, and social issues.
• Celebraon of Life: Whether it’s birth, marriage, harvest, or even death, folk music is
there to celebrate every phase of life.
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Final Thoughts
Punjabi folk music is not just about beats and tunes—it’s a feeling. It’s the sound of the soil,
the language of the heart, and the rhythm of everyday life. It teaches us that music doesn’t
need to be complicated to be powerful. It just needs to be real.
So next me you hear the beat of a dhol or the echo of a tumbi, remember—you’re not just
hearing music, you’re hearing Punjab’s history, soul, and spirit.
SECTION-C
5. Write notaon of tala Tilwara with single and double layakaries.
Ans: Tilwara Tala Notaon with Single and Double Layakari: A Simple and Meaningful
Explanaon
Indian classical music and dance are deeply rooted in the concept of Tala, which refers to the
rhythmic cycle or me structure. Just as melody needs a framework to live in, rhythm also
needs a paern to follow. One of the unique and graceful talas in the Hindustani classical
tradion is Tilwara Tala.
In this lesson, let us journey through the rhythmic world of Tilwara, understand its notaon,
and how it is expressed in both single (ek gun) and double (dugun) layakari.
What is a Tala? – A Quick Recap
Before diving into Tilwara, let’s revisit the idea of a tala. A tala is a cyclical paern of beats
that musicians follow while performing. Every tala has:
• A xed number of matras (beats)
• A structure with vibhags (divisions)
• Some claps (tali) and waves (khali) to mark strong and weak beats
• A sam, which is the rst beat and the most important
Talas are like the heartbeat of Indian music. They guide the tempo, structure, and expression
of a performance.
Introducon to Tilwara Tala
Tilwara Tala is a 12-beat tala primarily used in light classical vocal music, especially genres
like Thumri, Dadra, and Bhajan. It has a smooth and owing feel, making it ideal for
expressive and devoonal music.
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Structure of Tilwara Tala
• Total Matras (Beats): 12
• Vibhags (Divisions): 6 (each with 2 beats)
• Claps (Tali): on 1st, 5th, and 11th beats
• Wave (Khali): on the 7th beat
• Sam (First Beat): Matra 1
Tali-Khali Structure:
Beat
1
2
3
4
5
6
7
8
9
10
11
12
Hand Gesture
(Tali 1)
(Tali 2)
(Khali)
(Tali 3)
Theka (Basic Paern) of Tilwara Tala
The Theka is the basic, repeve rhythm paern played on the tabla for a tala. For Tilwara,
the theka is very simple and sweet.
Tilwara Tala – Theka (in single layakari / ekgun):
Matras
1
2
3
4
5
6
7
8
9
10
11
12
Bols
Dha
Dhin
Dhin
Dha
Dha
Tin
Dhin
Dhin
Dha
Tin
Dhin
Dhin
Theka in words:
Dha Dhin Dhin Dha | Dha Tin | Dhin Dhin | Dha Tin | Dhin Dhin ||
This theka is played slowly and melodiously, perfect for light classical and devoonal pieces.
What is Layakari?
Now, let’s talk about layakari, which means playing with tempo or rhythm. It’s like dancing to
the beat in dierent speeds.
• Ekgun (Single speed): One bol per beat – normal speed
• Dugun (Double speed): Two bols per beat – double the speed
Layakari helps to add variaon, excitement, and complexity to a performance.
Tilwara Tala in Dugun (Double Layakari)
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In Dugun Layakari, every beat gets 2 syllables. Since Tilwara has 12 beats, Dugun will have 24
bols (syllables) in one cycle.
Tilwara Theka in Dugun:
Beat
Bols (2 per beat)
1
Dha Dha
2
Dhin Dhin
3
Dhin Dhin
4
Dha Dha
5
Dha Dha
6
Tin Tin
7
Dhin Dhin
8
Dhin Dhin
9
Dha Dha
10
Tin Tin
11
Dhin Dhin
12
Dhin Dhin
Full Dugun Theka (in one line):
Dha Dha | Dhin Dhin | Dhin Dhin | Dha Dha | Dha Dha | Tin Tin | Dhin Dhin | Dhin Dhin |
Dha Dha | Tin Tin | Dhin Dhin | Dhin Dhin ||
This creates a faster, more energec ow, while sll staying within the 12-beat cycle.
Visualizing Tilwara – Like a Story
Imagine you are walking through a calm garden, taking 12 steps to make one full round.
Every 2 steps (beats), something happens:
• Step 1-2: You clap to start — the music begins (Sam).
• Step 3-4: The melody ows like a stream.
• Step 5-6: Another clap — a turning point, the mood rises.
• Step 7-8: A wave (khali) — lightness enters, like a pause or breath.
• Step 9-10: The rhythm connues gently.
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• Step 11-12: Another clap — closure, preparing to return to the beginning.
This cycle keeps repeang, creang a peaceful rhythmic loop.
Why is Tilwara Tala Special?
• It is used in Bhajans, Thumris, and light composions because of its gentle and
owing nature.
• Unlike faster or more complex talas like Teentaal or Jhaptaal, Tilwara is calm, perfect
for emoonal expression.
• It allows singers and instrumentalists to explore melody deeply without being rushed
by rhythm.
• In classical concerts, Tilwara creates a meditave mood.
Where is Tilwara Tala Used?
Tilwara is commonly found in:
• Bhajans (devoonal songs): to express devoon and love for God
• Thumri and Dadra: romanc and expressive light classical genres
• Semi-classical pieces: where emoonal expression is more important than speed
• Slow bandishes in khayal singing (though not very common in khayal)
Pracce Tip for Students
If you’re learning tabla or vocal music:
1. Clap and Recite the theka in single layakari with taal.
2. Slowly try recing the dugun (double speed).
3. Pracce with a metronome or tabla app to keep perfect rhythm.
4. Try singing a bhajan in Tilwara while keeping the tala — it helps your internal rhythm.
Conclusion
Tilwara Tala is more than just 12 beats — it's an emoonal rhythm cycle that breathes gently
like a wave. Its simplicity makes it ideal for beginners, while its smooth ow makes it beloved
by professionals. Whether played in single or double layakari, it oers space for expression,
emoon, and grace.
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Understanding its notaon and praccing it in dierent layakaris helps build a strong
rhythmic foundaon for any student of Indian classical music.
6. Write notaon of raga Kedar along with two taana.
Ans: Understanding Raag Kedar – A Melodic Journey
Let’s begin by imagining yourself in a peaceful temple courtyard at night, where the
moonlight soly touches the marble oor and a calm breeze brushes against your face. A
sitar begins to play – slow, deep, and soothing – and soon, you're transported into the world
of Raag Kedar. This raga, like a gentle moonbeam, creates a sense of devoon, peace, and
calmness. It's not just a set of notes; it's a mood, a feeling, a divine experience.
Basic Details of Raag Kedar
Before diving into the technical part, let’s understand the personality of Raag Kedar.
Feature
Details
Thaat (Parent scale)
Kalyan
Ja (Note paern)
Audav–Samapurna (5 notes in ascent, 7 in descent)
Time of Performance
Night (9 PM to midnight)
Vadi (Main Note)
Ma (Madhyam)
Samvadi (Second Important Note)
Sa (Shadja)
Mood/Emoon (Rasa)
Devoon, Peace, Serenity
Story Behind Raag Kedar
In Indian classical music, every raag has a story, a avor, and a soul. Raag Kedar is said to be
named aer Lord Shiva (Kedarnath). The raga reects a divine aura, and many composions
in Indian classical music and devoonal songs (bhajans) use Kedar because of its sacred and
calm mood.
When a singer performs Kedar, it feels like a musical oering to God, especially during
nighme when the world slows down and silence sets in. The beauty of Kedar lies in how it
alternates between dierent notes gracefully, creang a majesc, rich feel.
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Structure of Raag Kedar – Notaon
Let’s now look at the actual musical framework. Raag Kedar is not straighorward like some
other ragas. It beaufully blends the shuddha (natural) and teevra (sharp) Madhyam, giving
it a unique and rich texture.
Aroh (Ascending Scale):
S M (T) D N S'
Here, M (T) means Teevra Ma, and somemes Shuddha Ma is touched before Teevra Ma.
Also, Ga is skipped in the aroh.
Avroh (Descending Scale):
S' N D P M P G M R S
The descending scale uses both Ga and Ma, and the movement from P to Ga is very
important.
Important Notes:
• Both Ma (Shuddha and Teevra) are used.
• Ga is used only in Avroh.
• There’s a typical movement: M (T) D N S’ – S’ N D P M P G M R S.
Pakad (Characterisc Phrase):
M D N S’ – S’ N D P – M P G M R S
This Pakad (musical signature) denes the raag and helps listeners and performers idenfy it
instantly.
Chalan (Movement):
Let’s understand how the notes move or ow:
• In the ascent, it moves straight and quickly towards the upper octave with Teevra
Ma.
• In the descent, it slows down and touches each note, especially P, G, M, R, creang
deep emoon.
• The use of both Ma makes this raga mysterious and powerful.
Typical Bandish (Composion) Example:
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Let’s say a basic Khayal bandish in Raag Kedar might go like this:
“Sundar ang banaayo Hari ne,
Madhur madhur bansuri baajee”
Set in **Teentaal**, this composion is oen taught to beginners in Hindustani classical
vocal music and shows the beauty of the raga.
**Two Taans in Raag Kedar**
**Taan** is a fast-paced melodic phrase used in classical music, oen during the elaboraon
(vistar) or climax of a performance. It requires skill, breath control, and command over
notes.
Here are two taans based on Raag Kedar, wrien in **notaon**:
### ** Taan 1 (Simple straight taan):**
S M D N S’ – S’ N D M S
M P G M R S – S R G M P
This taan starts with **ascent** and **returns gracefully**. It shows Kedar’s basic structure
and is great for students.
### ** Taan 2 (Gamaka or curved taan):**
M P G M R S – R G M P D N S’
S’ N D P M P G – G M R S
This one has **curves** and touches of gamaka (ornamentaon), especially in **P-G-M-R**
secon. It reects the real feel of Raag Kedar, like waves rising and falling in a peaceful river.
**How to Pracce Raag Kedar**
1. **Start with the Aroh–Avroh** slowly with tanpura.
2. **Pracce the Pakad** again and again unl you feel the raga’s color.
3. Try **singing the Bandish** slowly and add your own variaon.
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4. Gradually add **simple taans**, like the ones above.
5. **Listen to masters** like Pt. Bhimsen Joshi, Kishori Amonkar, or Pt. Jasraj singing Raag
Kedar.
**Why Is Raag Kedar Special?**
Raag Kedar is not just a set of notes. It’s like a **prayer without words**. It doesn't need
lyrics to express devoon. Even the plain notes carry emoon. That’s why even today, Kedar
is one of the most loved ragas in Indian classical music.
- Understand how **note combinaons** create emoon.
- Pracce **both types of Ma (Shuddha & Teevra)**.
- Master **control over voice and transions**.
- Appreciate the **spiritual side** of Indian classical music.
Conclusion
To sum up, **Raag Kedar** is a majesc, spiritual raga that expresses devoon, beauty, and
calmness. With its unique use of **both Ma**, skipping Ga in the ascent, and touching Ga in
the descent, it creates a avor that’s unmistakably divine.
Learning Kedar is like climbing a quiet hill at night, listening to your own breath and the
universe around you. It teaches not just music, but **paence, control, and devoon**.
SECTION-D
7. Write an essay on Devoonal Music.
Ans: Introducon: A Journey of the Soul through Music
Imagine sing in a quiet temple early in the morning, with the sound of bells echoing gently.
A so voice begins to sing a bhajan, and suddenly your heart feels lighter. Your worries
pause, and your mind feels calm. That’s the magic of devoonal music. It is not just a type of
music; it’s a path that connects human beings with the divine. Devoonal music has existed
for centuries across all cultures, and its purpose is always the same — to express love,
surrender, and devoon to a higher power.
What is Devoonal Music?
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Devoonal music refers to music that is created and performed to praise, worship, or feel
closer to a deity, a spiritual gure, or a higher force. It is a form of expression where music
becomes a bridge between the human soul and God. This music can be slow and peaceful or
fast and rhythmic, but its main purpose is spiritual connecon, not entertainment.
Devoonal music is found in every religion and culture. For example:
• In Hinduism, bhajans, kirtans, and mantras are popular.
• In Chrisanity, hymns and gospel songs are common.
• In Islam, qawwalis and naats express deep devoon.
• In Sikhism, shabads sung from the Guru Granth Sahib bring peace and inspiraon.
History and Evoluon: From Temples to Homes
The roots of devoonal music go back thousands of years. In ancient India, the Vedas were
chanted with specic musical paerns. Over me, saints and poets like Meerabai, Kabir,
Tulsidas, and Guru Nanak started composing songs full of devoon and spiritual love. These
were not complicated musical pieces — they were simple, emoonal songs sung by ordinary
people during their daily prayers or in gatherings.
In South India, the Carnac tradion developed devoonal composions like kris and
bhajans. In North India, the Bhak Movement brought a wave of spiritual songs that could
be sung by anyone, regardless of caste or background.
As me passed, devoonal music found its place not just in temples or churches but also in
homes, music albums, movies, and concerts. Today, we can listen to bhajans on YouTube,
Spofy, or during early morning TV shows. Even though the plaorms have changed, the
essence remains the same.
Forms and Instruments of Devoonal Music
Devoonal music can be sung solo or in groups. Some common forms include:
• Bhajans: Simple songs sung in praise of God, oen in Hindi or regional languages.
• Kirtans: These are group chants, oen with call-and-response singing, accompanied
by instruments.
• Mantras: Repeve channg of sacred syllables (like Om Namah Shivaya) believed to
have spiritual power.
• Qawwalis: Su songs, usually sung in Urdu or Persian, lled with passion and
emoon.
• Shabads: Sikh hymns sung with tradional instruments.
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• Hymns: Chrisan songs sung during church services, oen using organs or choirs.
Some instruments commonly used in devoonal music include:
• Harmonium
• Tabla
• Mridangam
• Dholak
• Tanpura
• Veena
• Flute
• Guitar or piano (especially in modern Chrisan music)
These instruments help create an atmosphere of peace and devoon, and their sounds oen
stay in our hearts long aer the song is over.
Role and Importance of Devoonal Music
1. Spiritual Connecon
The most important role of devoonal music is to help people connect with God. When
someone sings a bhajan with a pure heart, it becomes more than music — it becomes
prayer. People feel close to their faith and nd comfort and strength in it.
2. Emoonal Healing
Devoonal music has the power to heal emoonally. It can calm a restless mind, reduce
stress, and bring peace. Many people listen to bhajans or chants during tough mes, and it
helps them stay strong.
3. Cultural Identy
Devoonal music is a big part of cultural heritage. Every region in India has its own style of
singing bhajans or kirtans. For example, Maharashtra has Abhangas, Tamil Nadu has
Thevarams, and Bengal has Baul songs. These are not just songs but carriers of tradion and
language.
4. Social Harmony
Devoonal gatherings like satsangs, namaz, gurubanis, or church choirs bring people
together. In such moments, social barriers like caste, class, or language disappear, and only
one thing maers — devoon.
5. Learning Values
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Through devoonal songs, people learn values like love, kindness, humility, and service. A
simple song like “Vaishnav Jan To…” teaches us what it means to be a good human being.
Famous Devoonal Musicians and Songs
Throughout history, many legendary arsts have devoted their talents to devoonal music.
Some famous names include:
• Meerabai – Her bhajans for Lord Krishna are sung even today.
• Tulsidas – Known for the Ramcharitmanas and many Ram bhajans.
• Sant Kabir – His dohas and bhajans speak about love and oneness.
• Tansen – One of Akbar’s court musicians, also known for his devoon to music and
God.
• Lata Mangeshkar – Besides lm songs, she sang beauful bhajans like “Ae Malik Tere
Bande Hum.”
• K.J. Yesudas – A classical and playback singer famous for Carnac devoonal songs.
• Nusrat Fateh Ali Khan – A legendary qawwali singer whose Su songs are loved
across the world.
Modern Inuence and Technology
Today, devoonal music has blended with modern styles. Many devoonal songs are
composed using electronic instruments, fusion beats, and are even remixed. While purists
prefer the tradional style, the modern format helps young people connect with devoon in
their own way.
Apps, podcasts, and YouTube channels dedicated to devoonal music are very popular.
People play bhajans during morning yoga, chant mantras for meditaon, and aend online
kirtan sessions.
Conclusion: A Song that Touches the Soul
In the end, devoonal music is not just about sound — it is about feeling. It doesn’t maer
whether someone is singing perfectly or playing the right notes. What maers is the
intenon behind the song. When we sing or listen with a heart full of faith and love,
devoonal music becomes a powerful experience.
Whether you’re in a crowded city or a quiet village, whether you’re facing a tough me or
celebrang joy — devoonal music can always be your companion. It reminds us that
beyond all the noise of life, there is a peaceful melody within us, waing to be heard. And
that melody is devoon.
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8. How will you explain role of Voice Culture in Music?
Ans: Imagine a boy named Rohan who loves to sing. Every morning, he stands in front of the
mirror and sings his favorite Bollywood songs at the top of his voice. His passion is strong,
but somemes his voice cracks, and he runs out of breath before nishing a line. One day,
his music teacher hears him singing and says, “Rohan, your voice has great potenal, but it
needs to be cultured.”
Rohan is confused. “Culture? What do you mean? I already sing with feeling!”
The teacher smiles and says, “Feeling is important, but without voice culture, your voice is
like a wild plant—it grows, but without shape. With voice culture, your voice becomes like a
well-trimmed, healthy tree that can bear fruit.”
That is exactly what Voice Culture is in music.
What is Voice Culture?
Voice culture is the scienc and systemac training of the voice to improve its tone, quality,
clarity, range, and expression. It is a way to take care of the voice and train it for beer
performance in singing.
In simple words, voice culture is like gym for your voice. Just like your body needs exercise to
stay t, your voice also needs regular exercises and care to become strong, smooth, and
expressive.
Why is Voice Culture Important in Music?
Let’s go back to Rohan. He sings with energy but lacks control, consistency, and smoothness.
He also feels red aer singing for a while. Why?
Because he hasn’t trained his voice muscles, lungs, breath control, or arculaon.
Voice culture solves this. It helps in:
1. Improving vocal tone and quality
2. Increasing vocal range (high and low notes)
3. Controlling breath properly
4. Avoiding strain or damage to the throat
5. Singing with clarity, stability, and emoon
Without voice culture, even the most passionate singers may damage their vocal cords or
never reach their full potenal.
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The Science Behind Voice Culture
The human voice is produced by the vibraon of vocal cords in the larynx (voice box). When
air from the lungs passes through the vocal cords, they vibrate and produce sound.
But producing good musical sound requires more than just vibraon. It involves:
• Proper breathing (from the diaphragm, not just the chest)
• Correct posture (straight spine, relaxed shoulders)
• Healthy vocal cords (free from dryness, swelling, or tension)
• Good resonance (the voice should echo well in the head and chest cavies)
Voice culture includes exercises and habits that support all these funcons.
Elements of Voice Culture
Now, let’s understand some key elements of voice culture that are taught in music classes:
1. Breathing Exercises
Breath is the fuel for singing. If your breathing is shallow, your singing will sound weak.
• Diaphragmac breathing is taught to control breath.
• Exercises include holding breath, slow inhaling/exhaling, and sustaining notes on one
breath.
This improves lung capacity and voice stability.
2. Voice Warm-ups
Just like athletes warm up their muscles, singers warm up their voice before singing.
Examples:
• Humming
• Singing vowels (Aa, Ee, Oo)
• Singing Sa-Re-Ga in slow tempo
These exercises help:
• Relax the vocal cords
• Avoid injury
• Smoothen the voice
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3. Pitch and Range Training
Pitch is how high or low a note is. Range is the total distance from the lowest note to the
highest one you can sing.
Voice culture includes:
• Praccing dierent scales (Sa-Re-Ga…)
• Gradually increasing vocal range
• Singing in both low and high registers
This makes the voice exible and powerful.
4. Arculaon and Clarity
A good singer’s words should be crystal clear. That’s why arculaon is trained.
Pracces include:
• Tongue exercises
• Pronunciaon drills
• Singing tongue-twisters slowly and clearly
This ensures each word in a song is understood by listeners.
5. Resonance Training
Resonance is the richness or fullness of the voice. It’s like the dierence between a plasc
ute and a wooden ute. Both produce sound, but one is warmer.
Voice culture uses:
• Nasal tone correcon
• Chest/head voice balance
• Echo and tone projecon
This improves the musical quality of the voice.
6. Posture and Relaxaon
A s or tense body aects voice badly.
Voice culture teaches:
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• Singing while standing or sing straight
• Relaxing neck, shoulders, and face
• Staying calm and composed
This helps keep the voice natural and free-owing.
Lifestyle and Habits for Voice Culture
It’s not only about singing exercises. Your daily roune aects your voice too.
• Drink warm water regularly
• Avoid very cold drinks or spicy food
• Get enough sleep
• Avoid shoung or over-talking
• Use a so tone while speaking
All these habits protect and maintain the health of your vocal cords.
Voice Culture in Dierent Musical Tradions
Whether you are learning Hindustani classical, Carnac, Western classical, or even pop
music, voice culture plays a key role.
• In Indian music, the concept of Aakar Sadhana (singing 'Aa' on notes) is a major part
of voice training.
• In Western music, singers learn solfege (Do-Re-Mi) and pracce scales with vibrato
control.
• Even rap arsts and folk singers benet from breath control and clarity.
Real-Life Examples
• Lata Mangeshkar trained her voice for decades. Her clear, sweet voice came from
daily riyaaz (pracce) and disciplined vocal habits.
• Arijit Singh oen pracces long breathing techniques to maintain his smooth voice in
live concerts.
• Shreya Ghoshal, trained in classical music, sll does voice exercises every morning.
They all show how important voice culture is—even for naturally talented singers.
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Final Words – Voice Culture is the Heart of Singing
Let’s come back to Rohan. Aer learning voice culture, his singing improves. He sings longer
without strain, hits higher notes with ease, and expresses emoons more beaufully. His
friends and teachers start praising him—not just for his passion, but also for his perfect tone
and control.
Voice culture transforms an ordinary voice into a musical instrument.
It is not only for singers but also for teachers, actors, public speakers, or anyone who uses
their voice professionally.
So if you love music, don’t just sing. Train your voice. Protect it. Culture it. Because your
voice is your identy—it deserves to shine.
“This paper has been carefully prepared for educaonal purposes. If you noce any mistakes or
have suggesons, feel free to share your feedback.”
