Easy2Siksha
GNDU Queson Paper 2021
BA 5
th
Semester
MUSIC (Instrumental)
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 in detail comparison between Avirbhava and Tirobhava.
2. Explain in detail the origin and development of music during modern period.
SECTION-B
3. Write down the life sketch and contribuon of Ut. Bismillah Khan towards Indian
Classical Music.
4. Describe in detail the role of Musical Electronic Instruments.
SECTION-C
5. Write down Ekgun, Dugun and Chaugun Layakaries of Tilwara Taal.
6. Write the descripon and notaon of Drut Gat in Raag Darbari Kanrha with three toors.
Easy2Siksha
SECTION-D
7. Explain in detail the interrelaonship study between folk and classical music.
8. Explain in detail the knowledge of Kirtan Chowkies in Gurmat Sangeet.
GNDU Answer Paper 2021
BA 5
th
Semester
MUSIC (Instrumental)
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 in detail comparison between Avirbhava and Tirobhava.
Ans: Comparison between Avirbhava and Tirobhava
(Explained in a simple and story-like manner)
Imagine life as a great cosmic drama, and the universe as a vast stage where divine energies,
beings, and spiritual truths play their roles. In this grand play, two very important Sanskrit
concepts help us understand the presence and absence of these divine manifestaons —
Avirbhava and Tirobhava. These words come from Indian philosophical and spiritual
tradions, especially used in Hinduism, Bhak Movement, and devoonal literature.
Let’s break down and compare both terms in detail with stories, meanings, and signicance.
Easy2Siksha
What is Avirbhava? (Appearance or Manifestaon)
The word Avirbhava comes from Sanskrit:
• ‘Avir’ means "towards" or "open"
• ‘Bhava’ means "being" or "existence"
So, Avirbhava means "to become visible," "to appear," or "to manifest."
In spiritual terms, it refers to the divine appearance or manifestaon of God or a holy gure
on Earth, especially in a human form. It is like the curtain rising on a divine character in the
play of life.
Example from a Story:
Let’s imagine a village that is going through a hard me — no rain, poverty, and suering.
One day, a saint appears and brings peace, wisdom, and miracles to help the people. That
moment when the saint arrives is called Avirbhava — a divine appearance that brings light
and guidance.
In Hindu mythology, the birth of Lord Krishna, Lord Rama, or Goddess Durga to destroy evil
forces is seen as Avirbhava. These are not ordinary births but divine appearances to restore
balance in the world.
What is Tirobhava? (Disappearance or Withdrawal)
Now, let’s come to Tirobhava. This word is also from Sanskrit:
• ‘Tiro’ means "hidden" or "away"
• ‘Bhava’ again means "being" or "existence"
So, Tirobhava means "to become hidden," "to disappear," or "to withdraw from visible
form."
It refers to the disappearance or departure of a divine being, either through death, merging
with the divine, or withdrawal from the physical world. It is like the curtain falling aer the
divine role is played.
Example from a Story:
Going back to the village story — aer helping the people and guiding them to the right
path, the saint silently disappears one day, leaving behind his teachings. That moment is
Tirobhava — the divine exit from the world stage.
In spiritual terms, when saints like Tulsidas, Kabir, Mirabai, or other great souls leave their
physical bodies, it is called Tirobhava. It’s not just physical death — it symbolizes their soul
returning to the divine source.
Easy2Siksha
Comparison Between Avirbhava and Tirobhava
Feature
Avirbhava
Tirobhava
Meaning
Appearance / Manifestaon
Disappearance / Withdrawal
Symbolism
Divine arrival
Divine departure
Nature
Beginning of presence
End of physical presence
Spiritual
Signicance
Shows hope, guidance, divine
grace
Shows compleon, liberaon, return
to divine
Examples
Birth of Krishna, appearance of
saints
Death of saints, nal samadhi
Emoon Involved
Joy, celebraon, welcome
Reverence, remembrance, farewell
Observed As
Birthday (Jayan),
Manifestaon Day
Death Anniversary (Tirobhava Day)
Celebraon in Indian Tradion
In Indian culture, both Avirbhava and Tirobhava are commemorated with respect:
• Avirbhava Days are celebrated like birthdays — for example, Krishna Janmashtami or
Rama Navami.
• Tirobhava Days are observed as death anniversaries of saints, but not with sorrow —
instead, they are honored for the life and wisdom they gave.
It’s interesng that both days are seen as spiritually powerful:
• Avirbhava is the start of their divine role
• Tirobhava is the return to divine source aer compleng the mission.
Deeper Meaning in Spiritual Life
These terms also teach us something about our own lives:
• Avirbhava can be seen as the awakening of inner divinity — when you discover your
purpose or connect with something divine within.
• Tirobhava can mean the withdrawal from ego, or the vanishing of darkness inside
you when you gain true knowledge.
Easy2Siksha
So in personal spiritual pracce, these are not just historical or mythological terms — they
are inner experiences too!
Final Thought – Like a Lamp
Let’s end this with a metaphor.
Think of a lamp. When the lamp is lit, it is Avirbhava — the light appears and removes
darkness. When the ame goes out, it is Tirobhava — the light disappears, but its eect
remains.
In the same way, saints and divine beings appear (Avirbhava) to guide us, and when their
work is done, they disappear (Tirobhava), leaving behind wisdom and light in our hearts.
Conclusion
To sum up, Avirbhava and Tirobhava are two sides of the same divine journey — arrival and
departure, appearance and disappearance, coming to guide and returning aer compleng
the mission. They help us understand not just religious stories but also our own spiritual
growth — how we awaken, act, and nally merge with something greater.
By learning these concepts, we realize that life itself is a divine play — and every entry and
exit has deep meaning.
2. Explain in detail the origin and development of music during modern period.
Ans: Origin and Development of Music During the Modern Period
Let’s take a journey back in me. Imagine standing at the edge of the 19th century, where
the world is beginning to change dramacally. The industrial revoluon is in full swing.
Trains, machines, and factories are taking over cies. Science and technology are advancing.
Sociees are changing. And just like everything else, music too is entering a new era – the
Modern Period.
The modern period in music is generally considered to begin around the late 19th century
and connues into the 20th and 21st centuries. It is a me of great experimentaon,
freedom, and creavity. Let’s explore how it all started and how it evolved.
The Root of Modern Music: Breaking the Rules
Before the modern period, music followed strict rules. Composers during the Classical and
Romanc periods used structured forms like symphonies, sonatas, and concertos. But by the
Easy2Siksha
late 1800s, some musicians felt red of these rules. They wanted to express new emoons,
reect modern life, and create something fresh.
One of the rst to break the mold was Claude Debussy. He didn’t want to follow the typical
paths of harmony. Instead, he created music that felt like oang clouds or gentle waves. His
music gave birth to Impressionism in music — inspired by Impressionist painters like Monet.
Debussy’s music sounded dreamy and used unusual scales, like the whole tone scale, which
gave a so, mysterious feel.
The Early 20th Century: A Storm of Change
As we move into the early 1900s, the world saw World Wars, revoluons, and the rise of
cies. This chaos and energy also entered music.
1. Expressionism:
In Germany and Austria, composers like Arnold Schoenberg were expressing the deep pain,
confusion, and anxiety of the modern world. He created atonal music — music without a key
or center. It sounded strange, even disturbing, but it matched the emoons of people living
through war and social upheaval. He also developed the 12-tone technique, where all 12
notes of the scale are treated equally. This changed music forever.
2. Neoclassicism:
While some went wild with atonality, others like Igor Stravinsky looked back at the order of
Classical music but gave it a modern twist. This was called Neoclassicism — a return to
balance and clarity, but with modern harmonies and rhythms.
Stravinsky’s famous work, The Rite of Spring, shocked audiences with its wild rhythms, raw
energy, and unusual sounds. It even caused a riot at its rst performance in 1913! But today,
it’s considered a masterpiece.
Experimentaon and New Sounds
In the mid-20th century, composers became even more experimental. Music wasn’t just
about melody and harmony anymore. It became about sound, silence, and technology.
1. Electronic Music:
With the invenon of tape recorders, synthesizers, and computers, a whole new world
opened up. Composers like Karlheinz Stockhausen and Edgard Varèse began using machines
to create music. This led to the birth of electronic music, which would later inuence genres
like pop, techno, and EDM.
2. Minimalism:
Easy2Siksha
In contrast to chaoc and complex music, a new style called Minimalism emerged in
America. Composers like Steve Reich, Philip Glass, and Terry Riley used repeon, slow
change, and simple harmonies to create a hypnoc eect. Their music was peaceful and
meditave, oen inspired by Eastern philosophies and cultures.
Jazz, Blues, and Popular Music
Now, while all this was happening in the world of classical music, another excing
development was taking place — Jazz and Popular Music.
In the late 19th and early 20th centuries, in the African-American communies of the
Southern USA, Blues and Jazz were born. These styles were full of emoon, rhythm, and
improvisaon. Jazz gave freedom to musicians to express themselves in real me, and arsts
like Louis Armstrong, Duke Ellington, and Miles Davis became legends.
By the mid-20th century, Rock ‘n’ Roll, Pop, and later Hip-Hop, R&B, and Electronic Dance
Music (EDM) took over. Music became a part of everyday life, powered by radio, records, TV,
and the internet. The modern period isn’t just about classical music—it includes all of these
genres that express the feelings and stories of modern people.
Modern-Day Music: A Global and Digital World
Today, in the 21st century, music is more diverse and accessible than ever. Anyone can create
music using just a laptop or a smartphone. Plaorms like YouTube, Spofy, and SoundCloud
have made it possible for arsts to reach the world instantly.
Also, fusion music is very popular now. Arsts blend classical with rock, Indian with jazz, folk
with pop, and more. There are no limits. The modern period is all about freedom,
innovaon, and global connecon.
Conclusion: A Musical Mirror of Society
The music of the modern period reects the rapid changes in our world. It mirrors joy and
pain, war and peace, tradion and technology. From the dreamy notes of Debussy to the
powerful beats of electronic dance music, the journey of modern music is full of imaginaon
and expression.
Music during the modern period is not about one style. It’s about the freedom to express
anything — whether it’s beauty, chaos, peace, anger, or love. It tells the story of humanity in
a changing world.
Easy2Siksha
SECTION-B
3. Write down the life sketch and contribuon of Ut. Bismillah Khan towards Indian
Classical Music.
Ans: Introducon: A Melody That Touched the Soul of India
Imagine a musical instrument that was once considered a part of temple rituals, mostly
played during weddings and religious funcons. Not taken seriously, not even seen as a part
of classical music. But then came a man who changed everything. A man who took the
Shehnai from the temple corridors to the global stage. This man was Ustad Bismillah Khan,
one of the greatest legends of Indian classical music. His life is a beauful example of
passion, simplicity, and devoon to art.
Early Life: Born to Music
Ustad Bismillah Khan was born on March 21, 1916, in Dumraon, a small town in Bihar. His
birth name was Qamaruddin Khan, but later he became famous as Bismillah Khan. He
belonged to a family of tradional musicians. His father, Paigambar Bux Khan, was a Shehnai
player in the court of Maharaja of Dumraon. His ancestors were also musicians, and the art
of Shehnai had been in his family for generaons.
From childhood, lile Qamaruddin was surrounded by music. He used to accompany his
uncle Ali Bux 'Vilayatu', a renowned Shehnai player, to Kashi Vishwanath Temple in Varanasi.
This temple and the holy city of Varanasi became his musical home. Here, he learned not
only the technique of Shehnai but also developed a deep emoonal connecon with the
divine.
By the me he was just 14 years old, he had already started performing publicly. He
pracced for hours daily by the banks of the Ganga River, where the peaceful surroundings
and owing water inspired his creavity.
Dedicaon: A Life Devoted to the Shehnai
Bismillah Khan’s love for the Shehnai was pure and spiritual. In an era where most young
arsts tried to run behind fame and wealth, he lived a life of simplicity. His only wealth was
his music.
He pracced for hours every single day, perfecng each note, each rhythm. He never treated
music as a profession. For him, it was worship. He once said,
“Even if the enre world becomes silent, my Shehnai will sll sing.”
Easy2Siksha
Bismillah Khan had deep faith in God, whether it was Allah or Shiva. He was a true symbol of
communal harmony. Though a devout Muslim, he performed his music at Hindu temples
with complete devoon. His life showed how music has no religion—only feeling.
Turning Point: Naonal Recognion
The turning point in his life came in 1937, when he performed at the All India Music
Conference in Kolkata. The audience had never heard the Shehnai played in such a soulful,
classical style before. People were amazed. Unl then, the Shehnai was considered just a
ceremonial instrument, but Bismillah Khan proved that it could match the beauty of any
classical instrument like the sitar or tabla.
From that day onwards, he became a star in the world of Indian classical music. Invitaons
started coming from all over India—and eventually, from across the globe.
Historical Moment: Shehnai on India’s Independence Day
One of the proudest moments in Ustad Bismillah Khan’s life came on August 15, 1947—
India’s Independence Day. As the Indian ag was hoisted at the Red Fort, Pandit Jawaharlal
Nehru requested Bismillah Khan to perform the Shehnai. His music lled the air as India
stepped into freedom. This event not only made him a naonal icon but also gave the
Shehnai a place of respect in Indian culture.
Global Fame: Taking Shehnai to the World
Bismillah Khan was not just loved in India but respected worldwide. He performed in:
• USA
• Canada
• Japan
• Iran
• Hong Kong
• Afghanistan
• United Kingdom
and many more countries.
In 1966, he performed at the Edinburgh Fesval in Scotland. The Western audience,
unfamiliar with the Shehnai, was enchanted. Many people who had never even heard Indian
classical music became fans aer watching him perform.
Easy2Siksha
Awards and Honors: A Legacy Etched in Gold
Ustad Bismillah Khan received numerous awards for his contribuon to music. Some of the
most notable ones include:
• Bharat Ratna (2001) – India's highest civilian award.
• Padma Vibhushan (1980)
• Padma Bhushan (1968)
• Padma Shri (1961)
• Sangeet Natak Akademi Award (1956)
He was only the third classical musician to receive the Bharat Ratna, aer M.S. Subbulakshmi
and Ravi Shankar.
Despite all this fame, Bismillah Khan remained humble and down-to-earth. He refused oers
to sele abroad because he couldn’t live without Varanasi and the Ganga. His love for his
city was so deep that he used to say:
“Banaras and the Ganga are my soul. Without them, there is no music in my Shehnai.”
Personal Life: Humble and Simple
Ustad Bismillah Khan never led a rich or luxurious life. He lived in a modest home in Varanasi
with his extended family. He was a man of simple habits—eang tradional food, vising
temples, and spending me with children.
His Shehnai was everything to him. He oen said he had two wives—his actual wife and his
beloved Shehnai.
Death and Legacy
Ustad Bismillah Khan passed away on August 21, 2006, at the age of 90. The naon mourned
the loss of a musical saint. The Indian government declared one-day naonal mourning, and
his funeral was conducted with full state honors.
His Shehnai was buried with him, just like a warrior is buried with his sword.
Contribuon to Indian Classical Music
Bismillah Khan’s contribuons are truly priceless:
1. Popularized Shehnai as a respected instrument in classical music.
2. Took Indian music to internaonal plaorms and introduced Shehnai to the global
audience.
Easy2Siksha
3. Promoted communal harmony through his art.
4. Inspired generaons of musicians, proving that true art comes from devoon and not
from luxury or show-o.
5. Proved that simplicity, humility, and dedicaon are the true ingredients of greatness.
Conclusion: A Musician Who Became Immortal
Ustad Bismillah Khan’s life teaches us that with true dedicaon, even a small, ignored
instrument like the Shehnai can conquer the world. His music was not just sound—it was a
prayer. He brought people together, broke barriers, and le behind a legacy that will live on
forever.
Even today, when the so notes of Shehnai oat in the air during a wedding or celebraon,
it feels like Bismillah Khan’s soul is sll singing somewhere among us.
4. Describe in detail the role of Musical Electronic Instruments.
Ans: Introducon: The Birth of a New Sound
Imagine you're sing in a room lled with musicians. One is tuning a violin, another playing
a grand piano, and a third holding a guitar. But then someone walks in with a small keyboard
connected to a laptop. He presses a buon—and suddenly, the room is lled with the sound
of an enre orchestra. You're amazed. How can such a small device produce such powerful
and diverse music?
Welcome to the world of musical electronic instruments—a revoluon in how music is
made, shared, and experienced.
What Are Musical Electronic Instruments?
Musical Electronic Instruments are devices that use electricity and digital technology to
create and control sound. Unlike tradional instruments like the ute or drum, electronic
instruments don’t rely solely on human eort (like blowing air or hing with hands).
Instead, they use circuits, signals, sensors, and soware to generate sound.
Some examples include:
• Synthesizers
• Drum machines
• Electric guitars
Easy2Siksha
• Digital pianos
• Samplers
• MIDI controllers
• Loop staons
• DJ equipment (like turntables and mixers)
These instruments can either produce sound directly or control other instruments through
digital signals.
How It All Started: A Quick History
Let’s go back in me.
In the early 1900s, the Telharmonium and Theremin were among the rst electronic
instruments. The Theremin was especially strange—it could be played without touching it!
You just moved your hands near two metal antennas, and eerie, ghost-like music came out.
By the 1960s and '70s, synthesizers like the Moog began to take over the music world. Bands
like The Beatles and Pink Floyd experimented with electronic sounds, creang music that
was unlike anything heard before.
In the 1980s, MIDI (Musical Instrument Digital Interface) was introduced. This changed
everything. It allowed electronic instruments to "talk" to each other and to computers. Now
you could connect a keyboard to your computer and control hundreds of sounds with just
one device.
The Main Roles of Electronic Instruments in Music
Let’s now understand the main roles of electronic instruments in the music world.
1. Sound Creaon and Experimentaon
Electronic instruments can create any sound—from a piano or violin to raindrops, alien
voices, or roboc beats.
• You can change pitch, speed, tone, and eects easily.
• Synthesizers can create enrely new sounds that don’t exist in nature.
• Musicians love them because they can experiment endlessly and create unique
styles.
Example: If you're a music producer making background scores for a sci- movie, you can
use a synthesizer to create strange, spacey eects.
Easy2Siksha
2. Music Producon and Recording
With electronic instruments, it’s possible to create and record enre songs from your
bedroom.
• You don’t need a big studio.
• You can record, edit, loop, and layer sounds using soware.
• Tools like MIDI controllers help you input notes into the computer directly.
Example: A YouTuber can produce full songs using a laptop, a MIDI keyboard, and
headphones—no orchestra or recording studio needed!
3. Live Performance and Entertainment
Electronic instruments have added a new layer of excitement to live performances.
• DJs use electronic gear like mixers and samplers to create dance music on the spot.
• Musicians use loop staons to record live loops and build songs in real me.
• LED visuals and synced lights oen accompany electronic performances.
Example: At music fesvals like Tomorrowland, you’ll see DJs using electronic setups to
energize thousands of people at once.
4. Accessibility and Aordability
Earlier, learning music required expensive instruments and years of pracce. Now, electronic
instruments have made music more accessible to everyone.
• Free soware and mobile apps allow anyone to make music.
• Digital keyboards can teach you how to play step-by-step.
• One instrument can produce the sounds of many—saving money and space.
Example: A student who can’t aord a drum set can use a drum pad app on their phone to
pracce rhythm.
5. Fusion and Innovaon in Music Genres
Electronic instruments have led to the birth of new music genres like:
• Electronic Dance Music (EDM)
• Synth-pop
Easy2Siksha
• Trap and Lo- beats
• Techno, Dubstep, Trance
Even tradional genres like classical, jazz, or folk now oen include electronic sounds for a
modern twist.
Example: A classical violinist might perform with a digital backing track created on a
synthesizer, giving an old song a new life.
6. Film, Gaming, and Sound Design
In movies, games, and even adversements, sound eects and background music are oen
made using electronic instruments.
• Horror lms use strange, distorted sounds to create suspense.
• Video games have dynamic soundtracks that change based on player acons.
• Foley arsts use electronic tools to mimic footsteps, rain, doors creaking, etc.
Example: The sound of lightsabers in Star Wars was made using an electronic manipulaon
of regular sounds.
The Magic of MIDI and DAWs
Two tools have become central to electronic music:
1. MIDI (Musical Instrument Digital Interface) – a language that lets instruments and
soware talk.
2. DAWs (Digital Audio Workstaons) – soware like FL Studio, GarageBand, Ableton
Live, etc., used to create, record, and mix music.
These tools allow complete control over every note and sound layer. It's like having a full
band inside your computer.
Educaonal Benets
Electronic instruments are also helpful in music educaon:
• They make learning fun through visual aids.
• Mistakes can be easily corrected in soware.
• Teachers can show students how music is built piece by piece.
Example: A music teacher can use a tablet and keyboard to teach children how to compose
their rst song using loops and beats.
Easy2Siksha
Impact on Culture and Society
Electronic instruments have democrazed music. Earlier, music producon was in the hands
of a few. Now, anyone with a laptop can be a composer.
• Independent arsts can rise to fame via plaorms like SoundCloud or YouTube.
• Social media is full of viral electronic music trends.
• Cultures from dierent parts of the world can fuse electronically to make global
music.
Challenges and Cricisms
While electronic instruments have many advantages, they also bring some challenges:
• Some argue that music has become too mechanical or emoonless.
• It’s easy to copy or use pre-made loops, so creavity might suer.
• Tradional musicians somemes feel overshadowed by digital music.
But most agree that the combinaon of electronic and tradional instruments is the best of
both worlds.
Final Thoughts: The Future is Sound
In today’s digital age, musical electronic instruments are more than just tools—they are
gateways to imaginaon. Whether you want to become the next AR Rahman, a DJ at local
pares, or just someone who loves playing music at home, these instruments give you the
power to create.
No maer your background, budget, or skill level—you now have the chance to make music
that can touch hearts across the world.
SECTION-C
5. Write down Ekgun, Dugun and Chaugun Layakaries of Tilwara Taal.
Ans: Introducon: The Beauty of Rhythm in Indian Classical Music
Imagine you are listening to the sound of a tabla on a peaceful evening — the beats fall into
a rhythm, your foot taps along, and without even knowing the technical terms, your heart
Easy2Siksha
starts syncing with the taal. That’s the power of lay (tempo) and taal (rhythmic cycle) in
Indian classical music.
Indian classical music is not just about melody (raag), it’s equally about rhythm. Among the
many taals in Hindustani music, one of the most melodious and widely used taals in folk and
classical sengs is Tilwara Taal.
And when it comes to understanding Tilwara Taal in its dierent layakaries — Ekgun (single
speed), Dugun (double speed), and Chaugun (four mes the speed) — it's like exploring
dierent shades of the same musical painng.
Let’s take a rhythmic journey and explore this taal and its layakaries in detail — like a story
unfolding beat by beat.
1. What is Tilwara Taal?
Before jumping into layakaries, we need to know what Tilwara Taal actually is.
Tilwara is a rhythmic cycle of 16 matras (beats). Just like Teentaal, it also has 16 beats, but
the way it is played, the mood it sets, and the structure it follows makes it dierent.
It is mostly used in semi-classical and light classical music forms, especially in bhajans, dadra,
kajri, and folk songs of North India. The laya (tempo) of Tilwara is usually vilambit (slow),
which gives the performer ample space to show the depth of emoon.
2. Structure of Tilwara Taal
Tilwara Taal is divided into 4 vibhags (secons) of 4 matras each. Here’s how it looks:
Matras (Beats)
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Vibhag Count
1st
2nd
3rd
4th
Clap/Wave
• Sam (1st beat): Clap
• Khaali (5th beat): Wave
• 2nd Clap: 9th beat
• 2nd Wave: 13th beat
3. Theka of Tilwara Taal
The Theka is the basic bol paern of the taal played on tabla. For Tilwara Taal, the theka is:
Easy2Siksha
Dha Dhin | Na Ti Na | Dhin Dhin | Na Ti Na
Dha Dhin | Na Ti Na | Dhin Dhin | Na Ti Na
It has a very calm and soothing ow, perfect for expressive singing styles.
4. What is Layakari?
Now let’s talk about Layakari — the most excing part.
Layakari means playing or singing the same taal or rhythm in dierent speeds or raos, while
keeping the taal structure constant. It’s like walking, jogging, and running on the same track.
There are mainly three types of layakaries you need to understand here:
1. Ekgun (Single Speed) – 1 note per beat
2. Dugun (Double Speed) – 2 notes per beat
3. Chaugun (Four Times Speed) – 4 notes per beat
Let’s break each one down in the context of Tilwara Taal.
5. Ekgun Layakari of Tilwara Taal (Single Speed)
What is Ekgun?
Ekgun means "single speed." Here, every bol (syllable) of the theka is played one per beat —
no hurry, no rush. Just like walking on each step slowly and clearly.
Tilwara Theka in Ekgun:
Dha (1) Dhin (2) | Na (3) Ti (4) | Na (5) Dhin (6) | Dhin (7) Na (8)
Ti (9) Na (10) | Dhin (11) Dhin (12) | Na (13) Ti (14) | Na (15) Dha (16)
Each syllable falls on one beat. This is usually how a basic theka is played in a calm vilambit
tempo, giving depth and feeling to the performance.
Use in Music:
• Mostly used during introducon, vocal alaap, or slow composions.
• Gives space to the singer and instrumentalist to elaborate.
6. Dugun Layakari of Tilwara Taal (Double Speed)
What is Dugun?
Dugun means “double speed”. Here, for each beat, we play two bols. The structure remains
the same, but the speed increases. Imagine now you're jogging instead of walking.
Easy2Siksha
Dugun Theka of Tilwara:
If Tilwara has 16 beats, and we play 2 bols per beat, total bols = 16 × 2 = 32 bols
Example:
Dha Ti Dhin Na | Ti Na Dhin Dhin | Na Ti Na Ti | Dhin Na Dhin Na
Dha Ti Dhin Na | Ti Na Dhin Dhin | Na Ti Na Ti | Dhin Na Dhin Na
This is just an illustrave dugun — many variaons exist depending on creavity.
Use in Music:
• Brings energy in the performance.
• Used during madhya laya (medium tempo) composions.
• Instrumentalists oen use dugun to build up the intensity.
7. Chaugun Layakari of Tilwara Taal (Four Times Speed)
What is Chaugun?
Chaugun is “four mes the speed” of the original. Here, we play 4 bols per beat — like
running through the taal, but staying in sync with the taal's cycle.
Chaugun Theka of Tilwara:
16 beats × 4 bols = 64 bols
Example (illustrave):
Dha Ti Dha Ti | Dhin Na Dhin Na | Ti Na Ti Na | Dhin Dhin Dhin Dhin
Na Ti Na Ti | Dhin Na Dhin Na | Dha Dha Ti Na | Dhin Na Dhin Na
These are again representave paerns. Chaugun requires perfect control over rhythm and
ming.
Use in Music:
• Shows technical mastery.
• Used towards climacc moments of a performance.
• Adds thrill and excitement.
Easy2Siksha
8. Comparison Table
Layakari
Notes Per Beat
Total Notes in Tilwara (16 beats)
Speed Level
Ekgun
1
16
Slow (Calm)
Dugun
2
32
Medium (Lively)
Chaugun
4
64
Fast (Dynamic)
9. Why Are Layakaries Important?
Layakaries are not just speed variaons. They reect the depth of rhythm sense, creave
control, and the balance between structure and expression. A great musician or tabla player
never breaks the taal – no maer how fast or slow he plays. That’s the beauty of discipline
and creavity in Indian classical music.
Conclusion
Understanding Ekgun, Dugun, and Chaugun layakaries of Tilwara Taal is like understanding
how rhythm breathes, walks, jogs, and runs. Tilwara, with its sweet 16-beat cycle, oers a
beauful plaorm for exploring these rhythmic paerns.
Next me you hear a bhajan or a folk song with a soothing tabla in the background, try to
guess whether the tabla player is playing in Ekgun, Dugun, or Chaugun — you’ll feel more
connected to the performance.
Rhythm is not just counng beats — it’s about feeling the ow. And once you learn to feel
Tilwara in dierent speeds, you’ll begin to understand the soul of Indian rhythm.
6. Write the descripon and notaon of Drut Gat in Raag Darbari Kanrha with three toors.
Ans: Drut Gat in Raag Darbari Kanada – Descripon, Notaon, and Explanaon with Three
Toors
Imagine sing in a quiet room, the tanpura humming soly in the background, and a tabla
player tapping a lively rhythm. Then begins the fast-paced, energec part of the
performance – this is the Drut Gat. And when this is played in a powerful and deep raag like
Darbari Kanada, the musical experience becomes even more intense and magical.
Let’s explore what Drut Gat is, how it works in Raag Darbari Kanada, and then break it down
into its notaon with three toors (tukdas or taans) in a story-like and simple way.
Easy2Siksha
What is Drut Gat? (Simple Meaning)
The word Drut means fast or rapid in Hindi.
The word Gat means a xed composion, usually with lyrics or a bandish (poec line) set to
a rhythmic cycle (taal).
So, Drut Gat means a fast-tempo composion. It is the nal and energec part of a raag
performance, usually performed aer the slow (vilambit) part. It is where the arst shows
speed, taans (fast melodic phrases), and rhythmic paerns to bring excitement and display
their mastery.
Think of Drut Gat as the grand nale of a musical performance. If the performance was a
journey, the Drut Gat would be the thrilling climax.
About Raag Darbari Kanada – A Quick Introducon
Before jumping into the Drut Gat, let’s understand the mood and character of Raag Darbari
Kanada.
• Thaat: Asavari
• Ja: Sampoorna-Sampoorna (All 7 notes in Aroha and Avaroha)
• Vadi (Most Important Note): Re (Rishabh)
• Samvadi (Second Important Note): Pa (Pancham)
• Time of Singing: Late night (12 am to 3 am)
• Mood (Rasa): Serious, majesc, royal, deep, and grave.
Raag Darbari Kanada has a heavy, serious, and deep tone, which is why it was oen sung in
royal courts, hence the name “Darbari.”
Its beauty lies in its andolan (slow oscillaon) on notes like Ga, Dha, and Ni. The raag uses
komal Ga, Dha, and Ni, giving it a deep emoonal pull.
Structure of Raag Darbari Kanada
Aroha (Ascending Scale):
S R (g) M P (d) n S’
(g, d, n = komal)
Avaroha (Descending Scale):
S’ n d P M g R S
(With oscillaon on komal notes)
Easy2Siksha
The raag involves a lot of meend (glides) and gamak (shaking of notes). It is not a raag to be
rushed — but when we come to Drut Gat, the taans bring a powerful beauty without losing
the dignity of the raag.
Taal Used in Drut Gat
Teentaal is most commonly used:
• Teentaal = 16 beats
• Divided into 4 vibhags (secons) of 4 beats each.
The theka (rhythmic paern) of Teentaal is:
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
This taal provides a strong and steady base for fast-paced taans and intricate rhythms.
Structure of Drut Gat in Raag Darbari Kanada
Drut Gat in Darbari is composed keeping the gravity of the raag in mind. Though the tempo
is fast, the composion sll reects the deepness, majesty, and slow andolans typical to
Darbari.
Here’s how the basic structure of Drut Gat is usually laid out:
1. Sthayi (First part) – The opening part, usually in the lower and middle octave.
2. Antara (Second part) – Moves into higher notes and elaborates the composion.
Notaon of Drut Gat in Raag Darbari Kanada (With 3 Toors)
Let’s now write a notaon for a typical Drut Gat Bandish in Teentaal, followed by three taans
(toors).
All komal notes are wrien in lowercase: g, d, n
Shuddh notes are in uppercase: S, R, M, P
Taal: Teentaal (16 beats)
Drut Gat Bandish (Sthayi + Antara)
Sthayi:
S R g R S R | g M P M g R |
S R g R S | d P M g R S ||
Antara:
Easy2Siksha
M P d n S’ | n d P M g |
R g M P M | g R S n S ||
This is a basic but elegant Darbari bandish in fast tempo.
Three Taans (Toors) in Drut Gat
Now let’s add three toors/taans. These are melodic paerns sung in fast tempo.
Toor 1 (Simple Taan)
S R g R S | R g M P M | g R S n S ||
This is a basic fast taan covering lower and middle octave.
Toor 2 (Zig-Zag or Vakra Style)
g M P M g R | g R g M R S | d n d P M ||
This one brings the beauty of vakra (twisng) movements, oen used in Darbari.
Toor 3 (Climacc Taan in Taar Saptak)
M P d n S’ | S’ d n d P | M g R S ||
This taan reaches the higher notes and comes back, ending the performance with brilliance.
Meaning and Arsc Expression
Even though Drut Gat is fast, the mood of Darbari must not be lost. The singer or
instrumentalist must maintain:
• The depth of andolan (slow oscillaon of komal notes).
• The weight of each note – not to sing too “lightly”.
• The respect for raga mood – no lmy, casual approach.
• Use of meend, gamak, and appropriate ornamentaon.
Think of it like a royal elephant dancing – it moves fast but maintains grace and power.
Easy2Siksha
Tips for Students (Performance + Pracce)
1. Pracce Slowly First: Even though Drut Gat is fast, pracce every phrase slowly rst.
Understand the movement.
2. Stay in Raag: Don’t go outside the scale of Darbari. No shuddh Ga or Ni.
3. Use Andolan: Even in taans, try to gently shake the notes like g~ or d~.
4. Control Rhythm: Match your taans with tabla’s theka. Don’t rush.
5. Taan Development: Start with short taans, then build longer ones.
6. Feel the Mood: Close your eyes and imagine a deep night in a royal court. That’s the
feeling you must evoke.
Conclusion
In conclusion, Drut Gat in Raag Darbari Kanada is not just a fast composion. It is the soulful
climax of a majesc raag. It brings energy, but that energy must be handled with grace, not
force. It’s like watching a powerful waterfall – it’s fast and strong but sll controlled and
beauful.
When a performer sings or plays Drut Gat in Darbari Kanada with mastery, the audience is
not just impressed – they are moved, awakened, and transported to a dierent world.
Whether you are a student or a listener, try to feel the deep royal emoon behind every
note. Pracce with heart, and let the raag guide your journey.
SECTION-D
7. Explain in detail the interrelaonship study between folk and classical music.
Ans: Introducon
Music is a universal language. Whether it’s a lullaby sung by a mother in a small village or a
complex raga performed by a trained maestro on a big stage, music touches every heart. But
have you ever thought about how these dierent forms of music—folk and classical—are
connected? Though they appear very dierent, they share a deep-rooted relaonship. In this
answer, we will explore the interrelaonship between folk and classical music in a simple,
story-like and meaningful way.
What is Folk Music?
Let’s begin our journey in a small village.
Easy2Siksha
Imagine you are sing around a bonre in a rural seng. There are people singing songs in
their local language. These songs tell stories of their lives—harvests, love, marriage, fesvals,
or even sorrow during droughts.
This is folk music—music that is:
• Oral and tradional (passed down from generaon to generaon)
• Based on daily life and nature
• Sung in local dialects
• Accompanied by simple instruments (like dhol, ektara, ute, etc.)
• Community-based and parcipave
Folk music has no xed rules. It ows freely, just like the people who create it.
What is Classical Music?
Now, shi the scene to a grand concert hall in a city. A musician in tradional are is singing
a raga or playing a sitar. The audience listens silently and respecully.
This is classical music. It is:
• Systemac and well-documented
• Based on ragas and talas
• Performed by trained arsts
• Meant for both devoon and performance
• Bound by rules, discipline, and structure
Classical music includes Hindustani (North Indian) and Carnac (South Indian) tradions in
India. It involves years of pracce, deep study, and spiritual dedicaon.
The Common Roots – A Shared Beginning
Here’s where the interesng part begins.
Long ago, there was no dierence between folk and classical music. All music was born from
the same human experience—joy, fear, devoon, and celebraon. Over me, folk music
evolved naturally in villages, and classical music became more rened in temples and royal
courts.
Let’s take a real-life example:
Many Hindustani ragas are believed to have folk origins. For example, Raga Pahadi sounds
Easy2Siksha
like the tunes sung by people in the hills. The name “Pahadi” itself means “from the
mountains.”
This shows that classical music oen borrowed melodies, rhythms, and themes from folk
tradions and gave them a structured form.
Interrelaonship Between Folk and Classical Music
Let’s understand this relaonship under key points:
1. Inspiraonal Source
Folk music has oen inspired classical composions.
• Many classical ragas like Desh, Bhairavi, and Ka have folk roots.
• The lilt and rhythm of folk songs give classical music freshness and emoonal appeal.
Example:
Folk Baul songs of Bengal inspired great classical musicians like Rabindranath Tagore to
compose songs blending folk melodies with classical elements.
2. Melodic and Rhythmic Exchange
• Classical musicians oen experiment with folk rhythms (like Dadra, Kaharwa) to add
diversity.
• Folk arsts somemes use classical ragas unknowingly while singing their local songs.
This two-way exchange enriches both genres.
3. Emoonal Depth and Simplicity
• Folk music adds raw emoon and simple beauty to music.
• Classical music adds depth, complexity, and spiritual renement.
When combined, they create music that is both heart-touching and intellectually rich.
4. Use in Dance and Drama
In tradional Indian dance forms like Bharatanatyam, Kathak, and Odissi, you will nd the
fusion of classical ragas and folk tunes.
Easy2Siksha
Example:
In Kathak performances, many rhythmic paerns (hai, tala) are inspired by folk dance
forms like Raas Leela or Lavani.
5. Modern Fusion and Experiments
Today, many musicians blend folk and classical music to create beauful fusion.
• Shubha Mudgal, a famous classical singer, oen uses folk styles in her rendions.
• Bands like Indian Ocean use folk lyrics with classical instruments.
This fusion shows the exibility and shared essence of both styles.
6. Cultural Preservaon and Connuity
Folk music keeps local tradions alive. Classical music keeps ancient systems preserved.
Together, they preserve India’s musical heritage.
Real-life Learning Story
Let me tell you a simple imaginary story.
There was once a boy named Ravi in Rajasthan. He grew up listening to his grandmother
sing folk songs while working in the elds. He learned the rhythms of the Manganiyar folk
music.
One day, a music teacher visited his school and introduced Raga Malkauns to the students.
Ravi was shocked—the tune sounded just like a lullaby his grandmother sang! That day he
realized that folk and classical music are two branches of the same tree—one wild and free,
the other trimmed and decorated.
He later became a classical musician and began composing music that merged both
tradions.
Famous Personalies Who Blended Folk and Classical
1. Pandit Bhimsen Joshi – He oen sang bhajans in folk styles using classical base.
2. Rabindranath Tagore – Merged Bengali folk with classical into “Rabindra Sangeet.”
3. Lata Mangeshkar – Trained in classical but sang folk-based lm songs beaufully.
4. Ilaiyaraaja (South Indian composer) – Mixed Tamil folk with Carnac ragas in cinema
music.
Easy2Siksha
Folk and Classical Across the World
This relaonship exists not only in India but globally:
• In the West, classical composers like Beethoven used folk melodies in symphonies.
• In China and Japan, folk and classical music also share deep es.
Music is universal, and so is its evoluon.
Academic Importance of Studying the Interrelaonship
• Helps students understand musical evoluon.
• Promotes respect for grassroots art (folk).
• Encourages innovaon in classical music.
• Supports cultural unity and diversity.
Conclusion
To sum it up like a simple thought:
Folk music is the soul of the people. Classical music is the mind of the tradion. Together,
they create the heart of Indian music.
Though they seem dierent—like the river and the ocean—they are connected by ow,
feeling, and foundaon. One is spontaneous and local; the other is disciplined and universal.
But both are precious and irreplaceable.
Understanding their relaonship helps us appreciate music in a deeper, richer, and more
meaningful way.
8. Explain in detail the knowledge of Kirtan Chowkies in Gurmat Sangeet.
Ans: Knowledge of Kirtan Chowkies in Gurmat Sangeet – A Deep Understanding
Imagine yourself walking into a beaufully lit Gurdwara early in the morning. The air is calm,
peaceful, and sacred. As you enter, you hear the soothing sound of kirtan – the singing of
Gurbani – being performed by Ragis (devoonal singers). The melody is heart-touching. But
have you ever wondered why dierent types of kirtan are performed at dierent mes of
the day in the Gurdwara? Or why the tone and rhythm of morning kirtan is dierent from
the one sung in the evening?
This beauful system is called “Kirtan Chowki” in Gurmat Sangeet, and understanding it
brings us closer to the spiritual rhythm and discipline of Sikh music tradion.
Easy2Siksha
What is Gurmat Sangeet?
Before we dive into Kirtan Chowkies, let’s quickly understand what Gurmat Sangeet means.
Gurmat Sangeet refers to the Sikh musical tradion – it literally means “Music according to
the Guru’s wisdom.” It is not just singing; it is a way to connect the soul with the Supreme
Power through divine composions found in Guru Granth Sahib Ji.
Gurmat Sangeet is based on:
• Raags (musical modes)
• Taal (rhythm)
• Shabad Kirtan (hymns)
• Kirtan Chowkies (musical sings/segments based on me)
This brings us to the heart of today’s topic – Kirtan Chowkies.
What is a Kirtan Chowki?
The word “Chowki” comes from the word “chauk” meaning a duty or shi. In the Gurdwara,
Kirtan Chowki means a musical session or segment of Kirtan that is held at specic mes of
the day.
There are dierent Kirtan Chowkies performed throughout the day, each with a specic
ming, purpose, and musical style. These Chowkies help maintain a spiritual environment
and create a rhythm for devotees to connect deeply with Gurbani.
It is like a spiritual clock that organizes the day around the message of the Guru.
Why Time Maers in Kirtan?
You might be thinking – why is me so important in Gurmat Sangeet?
In Indian classical music, every Raag is associated with a specic me of the day. The mood,
emoon, and energy of that Raag is most powerful when sung at its designated me. For
example, morning Raags bring peace and freshness, while evening Raags bring calmness and
reecon.
Guru Granth Sahib Ji is organized according to Raags, and those Raags are performed in their
me-bound Chowkies.
This system of Kirtan Chowkies keeps the pracce disciplined, meaningful, and spiritually
aligned.
Easy2Siksha
Types of Kirtan Chowkies in Gurmat Sangeet
There are ve major Kirtan Chowkies followed in tradional Gurmat Sangeet pracce. Let’s
understand them one by one in a simple way.
1. Asa Di Vaar Chowki (Early Morning - Amrit Vela)
• Time: Around 3 AM to 6 AM (Amrit Vela)
• Raag: Asa
• Content: Asa Di Vaar – a spiritual ballad composed by Guru Nanak Dev Ji and Bhai
Mardana Ji
This is the rst Chowki of the day, sung in the early morning hours when the mind is calmest.
It sets the tone for the whole day.
Imagine a peaceful Gurdwara, with candles glowing and devotees sing in silence. The so
melodies of Asa Di Vaar guide them into a meditave state. The message is about
remembering God, living truthfully, and staying away from ego and falsehood.
2. Anand Sahib Chowki (Morning)
• Time: Aer Asa Di Vaar, generally around 6–7 AM
• Raag: Raag Ramkali (Anand Sahib is oen sung in this Raag)
• Content: Anand Sahib – the “Song of Bliss” by Guru Amar Das Ji
This Chowki celebrates the joy of spiritual awakening. It is called Anand, which means bliss
or happiness. The singing of Anand Sahib is energec, giving strength to start the day with
faith and energy.
3. Diwan Chowki (Dayme or Aernoon)
• Time: Usually mid-morning or aernoon (depends on Gurdwara)
• Raags: Varies – can be Raag Majh, Sorath, Bilawal, etc.
• Content: General Shabad Kirtan
This Chowki is exible and depends on the occasion. During this me, dierent Shabads
from Guru Granth Sahib Ji are sung in various Raags. Oen, Kathas (spiritual talks) are also
given during or aer this session.
It’s like a mid-day recharge for the soul.
4. Rehras Sahib Chowki (Evening)
Easy2Siksha
• Time: Around sunset (6 PM to 7 PM)
• Raags: Raag Sorath, Raag Dhanasari, etc.
• Content: Rehras Sahib – the evening prayer
Aer a long day of work and worldly dues, this Chowki helps devotees to pause and reect.
Rehras Sahib brings calmness, gratude, and strength to face life’s struggles. It is said to
remove redness and give peace.
Musically, the tone of this Chowki is soer and more relaxing, matching the peaceful energy
of dusk.
5. Kirtan Sohila Chowki (Night)
• Time: Before sleeping (8 PM to 9 PM or later)
• Raag: Raag Gauri, Kalyan, Prabha, etc.
• Content: Kirtan Sohila – the bedme prayer
This is the last Chowki of the day, like a lullaby for the soul. Kirtan Sohila speaks of the soul’s
journey, detachment, and divine union. It prepares the mind to rest in Waheguru’s
remembrance.
The atmosphere during this Chowki is quiet, devoonal, and inward-looking.
Spiritual Signicance of Kirtan Chowkies
These ve Chowkies are not just about music – they are spiritual disciplines. They guide the
daily roune of Sikhs and help build a connecon with the Guru at every stage of the day.
Each Chowki helps us:
• Start the day with spiritual strength
• Maintain focus during work
• Recharge our soul in the evening
• End the day in peace
This system also reminds us that me is sacred and should be used wisely in the
remembrance of God.
Easy2Siksha
Instruments and Presentaon
In Gurmat Sangeet tradion, classical Indian instruments like Taus, Rabab, Dilruba, Saranda,
and Pakhawaj were originally used. Nowadays, harmonium and tabla are commonly seen in
Kirtan Chowkies.
Sll, many eorts are being made to revive the tradional instruments and styles in Kirtan.
Conclusion
The concept of Kirtan Chowkies in Gurmat Sangeet is a beauful example of how me,
music, and spirituality can blend into daily life. These Chowkies are not just musical sessions
– they are spiritual doorways that help us remain connected to the divine from dawn to
dusk.
Whether you’re listening to Asa Di Vaar in the quiet of the morning or channg Kirtan Sohila
before bed, each Chowki helps us pause, reect, and draw closer to Waheguru.
Understanding this system gives us a deeper appreciaon of how beaufully the Sikh Gurus
integrated discipline, devoon, and divine music into everyday life.
So next me you sit in a Gurdwara and listen to a Kirtan, try to recognize – Which Chowki is
this? What me is it? What Raag is being used? Slowly, you’ll see the spiritual rhythm of
your day aligning with the divine music of the Guru.
“This paper has been carefully prepared for educaonal purposes. If you noce any mistakes or
have suggesons, feel free to share your feedback.”
