Contribution of Indian Classical Music to Sri Guru Granth Sahib
Chapter -I
Indian Classical Music: An Introduction
It is a principal musical tradition of not only India but of other countries like Pakistan, Bangladesh and Nepal as well. Believed to have originated from the throat of Lord Shiva with the eternal sound Om, it is broadly divided into two- Hindustani- prevailing in India, Pakistan, Bangladesh and Nepal and Carnatic Music- present in South India. Both share numerous principles but have different styles and influences. Characterised by melodic vocals and harmonising instruments, Indian Classical Music theory has been built on the corner stone of expression and spirituality.
At the centre of Hindustani Music tradition is the melody, the process of one note following the next to form a cohesive musical expression. Hindustani compositions are based on a series of melodic frame work called Ragas and follow rhythmic patterns called Talas. The prominent musical instruments used in it are Sitar, Tabla, Sarod, Bansuri and Sarangi. As this system of music was based primarily on vocal performances so many musical instruments were designed to emulate human voice. Accomplished musician artists are addressed with honour as Pandit if they are Hindus, and Ustads if they are Muslims, otherwise it is historically religiously neutral
Ancient History
It followed a single uniform style modelled after the melodic pattern of Vedic chanting beginning with Rig and Sama Veda- which are a collection of hymns written nearly five thousand years ago. This is where the first three musical notes or Suras- S, Re, G originated. Due to this origin it traditionally remains oriented towards vocals. Almost a thousand years hence around 200 B.C came Bharat Muni’s Natyasastra- the first treatise on dramaturgy, most notably the theory of music and musical instruments. In this work Bharat Muni discussed the classification of musical instruments, outlined harmonic scales, defined Srutis, as the smallest interval of pitch and ascertained the composition of a group performance known as Kutapa. It consisted of two- one male and one female- singers accompanied by nine to eleven musical instruments. These concepts outlined thousands of years ago provided the bedrock from which Indian Classical Music emerged.
Medieval
Indian Classical Music had amassed a large following of exponent and audiences by 1000 C.E., even exchanging characteristics with the musical styles of other cultures. As Muslim influence swept across North India in the eleventh century so it came into contact with Persian musical tradition that gave rise to Hindustani style of music. Gradually diverging from Carnatic music of the south it flourished under the influence of Sufi composers and Mughal Court musicians, like Beju Bawra and Tansen, while retaining the Hindu principles it was founded on. The concept of Gharanas emerged in 16 th century after the decline of Mughal empire introducing a system of connecting artistes by lineage or apprenticeship and observing a specific style. Gharanas- literally a word for Houses- brought forth a tradition of handing down artistic knowledge, skills and performance based on that particular region and style. The development of Gharanas helped in fostering dedication, devotion, technique and innovation in all areas of art and music. Musical patronage under Maharajas and Nawabs supported the Gharana system as the leader of each region commissioned performances and compositions.
Modern
The decline of musical patronage in the 19th century made way for new musical traditions and practises. Talented musicians like Pandit Vishnu Digambar Paluskar began composing and offering lessons outside the Gharanas, opening up a new possibilities to artists and musicians who may not have had the opportunity to get trained at a Gharana. During the same span Pandit Vishnu Narayan Bhatt Khande sought to consolidate techniques and traditions of various gharanas and styles. The outcome was four volumes of text Hindustani Sangeet Padhiti ( Hindustani Music System) that among others explained the Ragas used today.
During 20th century the development of recorded music, radio and television had heavy influence on Hindustani Classical Music as it provided opportunities for artists trained outside the Gharanas. During the sixth decade of 20 th century All India Radio hired hundreds of artists in an effort to fill the void created by dissolution of court patronage, a notable contribution to the preservation of Indian Classical Music.
Principles & Techniques
The fundamentals of the Hindustani Classical Music can be broken down into two key concepts- Ragas and Talas.
Ragas:- They are melodic structures that consists of a specific set of five or more notes. Each set of notes has unique characteristics and are made from combination of pure, flat and sharp tones called Thaats. The tones of a thaat are called swaras and there are a dozen swaras – Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. There are more than 500 ragas but only 100 of them are played today.
Talas They are rhythmic structures much like as Ragas are for melody. Talas are divided into equal beats and played in repeating cycle ( 3+2+2). Each Tala has on beats called Tali and off beats called Khali which must be followed while improving on varying the tala. The first beat of Tala is known as Sama and it signals the soloist to rejoice the composition after improvisation. Raga and Tala is only form – the basis of a composition, no two will be alike even if they use the same raag and tala.
Alap It is the beginning of a traditional performance characterised by a rhythmically free exploration of a raga. It can be further divided into Jod and Jhala.
Gat/Bandish It is a fixed melody of a Raag that follows Alap. It is further divided into – sthaayi, antara, sanchari and nabbhag.
Mostly types of compositions found in Indian Classical Music are Dhrupad, Khayal, Thumri, Ghazal and Tappa.
This work aims to study contribution of Indian Classical Music to Sri Guru Granth Sahib ji- the scared text of The Sikhs which perhaps is the only holy book of any religion that prescribes different raags in which the compositions of Gurus and Bhakts is to be rendered. There are nearly 31 Raags mentioned in this pious text. Though the study of all the compositions in each raags will be beyond the scope of the book and not possible yet the Vaars (Euology) of each raag will be studied so as to ascertain the nature of the Raag, and the appropriate time for it in order to produce maximum effect on the listener. Besides a brief biographical sketch of the Gurus, and the Bhakts who have rendered their compositions in various raags is intended to be given in the following chapter
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