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Home , Asavari (thaat), Bairari, Bibhas, Bilaval, Bilaval (thaat), Gauri (raga)

International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 Concept of in : A Divine Approach Dr. Tajinder Pal Singh Assistant Professor, P.G. Department Of Music Vocal, Khalsa College, Patiala. ------Abstract Sri Guru Granth Sahib, the holy text, is the supreme authority in Sikhism which is considered to be the living guru after the lineage of ten gurus starting from the first guru, Sri Dev till the tenth guru, Guru Gobind Singh. The composition of Sri Guru Granth Sahib includes the valuable teachings in the form of mystic hymns of thirty six contributors (six of Sikh gurus and thirty saints from different regions and religions) and comprises of 1430 pages in total. These religious teachings are classified under different which might have prevalent by then. In short the gurus have directed us to sing these hymns in the prescribed ragas so that there divine faith can be revealed more effectively among the masses. The aim of writing this paper is to appreciate our rich heritage and culture preserved through this art form, but also with an objective to explore the traditional music of Sikhism, popularly known as The Sikh Music, Gurbani or Gurbani Sangeet. Hence, an attempt has been made to study the important components and elements of the Sikh music along with the ragas according to their aesthetic mood as mentioned in the holy Sri Guru Granth Sahib. Keywords: Sri Guru Granth Sahib, Ragas, Hymns, Gurbani Sangeet, Aesthetics.

Indian Classical Music, often known as Hindustani ShastriyeSangeet is a wonderful gift to mankind awarded by the Supreme power, the omnipotent, the creator, God. In case we look into history, it can be seen that Hindustani Classical Music has its origin from the Vedic texts, Upanishad, holy hymns. With the passage of time it established itself in northern India by 13th and 14th century through the spiritual recitals, folk and social dramatic performances. No doubt, that the seed of can be traced from the oldest scriptures of the Hindu Tradition i.eSamveda, which discusses Hindustani music at a great length, No doubt,Indian classical music has a long and rich tradition which has kept alive the values and culture of our country that got evolved through countless musical interactions between Musicians of diverse cultures and religion. Indian classical music is full of devotion that aims to make mankind closer to the almighty, to provide them with inner happiness, satisfaction and also to help them to reach at a stage of self- realization or salvation.

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)90 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 The Ancient Period (100-1200 AD) The ancient treatise named “Natyashastra” written by Bharat Muni, is the first and reliable text to be considered as the foremost granth on musicology. This treatise includes the three art forms i.e. music, dance and theatrical music in dramatic performances1. It also gives a detailed description of different scales used in Indian classical music- shadajgrama, madhyamgrama, gandhargrama. The Medieval Period(1200-1800AD) This period has witnessed one of the most important writing of Pt. Sarangdev i.e. SangeetRatnakar. SangeetRatnakar explains the musical development right from the period of Bharat Muni. His work discusses all about vocal techniques, including shadajgrama, madhyamgrama with its musical modes. He gave a detailed explanation about Shrutis and classified them into 22 equal divisions which leads to the formation of an octave. Later, with the entry of foreign invaders, especially the Mughals, who entered from the northern part of the country, brought many changes in the society that ultimately effected the ongoing musical trends of that era. Mughals, who strictly followed Islam, never encouraged and appreciated this finest art form but few kings like Allauddin Khilji patronized their court musicians including Amir Khusro who contributed immensely in the field of music. Many compositions were written and composed by him in the praise of his mentor (Murshad), Hazrat Nizamuddin Aulya. He popularised the musical forms like Khayal, Qawali and created few taals e.g. (Farodast, Theka qawali ) and instruments like , dhol etc. resulting the establishment of Hindustani Music around the country which later got divided into Northern classical music and . Rise of the Sikh Music Sikh Music came into existence with the rise of the mystic views of Guru Nanak in late 15th century. This mystical poetry of Guru Nanak was delivered to a common man through the means of music. Bhai Mardana an early follower of Guru Nanak accompanied him on string instrument called Rabab. Carrying this legacy forward, all the Sikh Gurus sang in the praise of almighty and chose music as a medium to convey the divine message to the masses. The music included the then- prevalent classical and folk styles, accompanied by string and rhythmic instruments. This unique blend consisted of holy hymns termed as Bani, was of the utmost significance, also the music played an important and supporting role with it. The Masters, no doubt, directed us to sing the hymns in the prescribed ragas mentioned in the Sikh sacred scripture, Adi Granth. The Adi Grath, commonly known as Guru Granth, is the holy scripture of that explains the teaching of Guru Nanak and the other Gurus.

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)91 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 Later in (1666-1708), the tenth Guru, Guru Gobind Singh confirmed the sacred text Adi Granth as his successor so this holy text is officially regarded as the final and eternal Guru of the Sikhs. Ragas mentioned in Sri Guru Granth Sahib Ji A raga is a complex structure of musical notes and is considered to be a unique feature of Indian classical music. It follows certain rules and regulations can creates a melody which ignites a certain mood in the vocalist and the listeners. Every Raga has a separate aesthetic form and mood which can be perceived by the listeners. The Holy Scripture, Guru Granth Sahib ji is classified into a number of sixty ragas (few classify then it into sixty two ragas). The list of the Ragas which are mentioned in Sri Guru Granth Sahib ji is as follows. Aasa, Gujri, Deepki, Dhanasri, Gauri Poorbi, Siri, Maajh, Gauri Guarairee, Gauri, Gauri Dakhni, Gauri Chaitee, Gauri Bairagan, Gauri Poorbi Deepki, Gauri Maajh, Gauri Malva, Gauri Mala, Gauri , Aasa Kaafi, , Aasa Asavari, Devgandhari, Bihagra, Vadhans, Vadhans Dakhni, Sorath, , , Bairarri, , Tilang Kaffi, Suhee, Suhee , Suhee , , Bilaval Dakhani, Gound, Bilaval Gound, , Ramkali Dakhani, Nat Narayan, Nat, Malli Gaura, Maru, Maru Kaffi, Maru Dakhni, Tukhari, Kedara, Bhairo, , Basant , Sarang, Malar, Kanhda, Kaliyan, Kaliyan Bhopali, Parbhati , Parbhati, Parbhati Dakhani, Bibhas Parbhati, Jaijavanti2. The Sikh Gurus used these Ragas to create a proper mood, Although Ragas used in Indian Classical Music follow a system of time theory but here in the case of Gurbani sangeet, ragas are not restricted to a particular time. Thus, the state of mind can be created with the help of these ragas at any time. Every Raga sets a particular mood for the hymn hence adding a profound meaning to it. According to the different moods an explanation of these ragas along with the few hymns have been given as under which is a result of my own observations and experiences in the concerned subject moreover the available sources and literature written by Sikh Kirtankars, e.g. Bhai Surinder Singh (U.K) academicians and scholars have been reviewed and analysed. It may or may not be acceptable to all the readers. This subject may draw attention of the other researchers who wish to explore this topic through other aspects.

1) Raag Aaasa : This Raag comprises of strong emotions related to courage and inspiration. It motivates the listeners to keep all the unnecessary justifications aside which divert the attention from their ambition and make them move forward to achieve their aim. It provides

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)92 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 the inner strength even in the difficult times to get success. This Raag ensures the listeners that defeat is not an option and inspires the listeners to gain strength for their success. so dru rwgu Awsw mhlw 1 <> siqgur pRswid ] so dru qyrw kyhw so Gru kyhw ijqu bih srb smwly ] vwjy qyry nwd Anyk AsMKw kyqy qyry vwvxhwry ] kyqy qyry rwg prI isau khIAih kyqy qyry gwvxhwry ] gwvin quDno pvxu pwxI bYsMqru gwvY rwjw Drmu duAwry ] gwvin quDno icqu gupqu iliK jwxin iliK iliK Drmu bIcwry ] gwvin quDno eIsru bRhmw dyvI sohin qyry sdw svwry ] gwvin quDno ieMdR ieMdRwsix bYTy dyviqAw dir nwly] gwvin quDno isD smwDI AMdir 3 gwvin quDno swD bIcwry ] (8)

2) Raag Gujri : This Raag makes the listeners understand the value of time which is passing very quickly. It reveals the listeners the utter truth of their death and fatality so that they can utilize the remaining time perfectly. The perfect example of this Raag is life of a person holding water in his cupped hand and it is only then the person realize the value of water when it begins to seep slowly through his hands. rwgu gUjrI mhlw 5 ] kwhy ry mn icqvih audmu jw Awhir hir jIau pirAw ] sYl pQr mih jMq aupwey qw kw irjku AwgY

kir DirAw ]1] myry mwDau jI sqsMgiq imly su qirAw ] gur prswid prm pdu pwieAw sUky kwst 4 hirAw ] (10) 3) Raag Gauri Deepaki: In Guru Granth Sahib there is hymn under this Raag and in this hymn, Sohila is a lullaby (lorrie) which is kind of bedtime story from a mother to her child comfort and also shares her past experiences and knowledge. This Raag bring out enthusiasm or passion and security. It also acquaint the listeners with the deep reality of darkness so that listeners can gain the truth. It gives the feeling of fearlessness, certainty and new hopes. soihlw rwgu gauVI dIpkI mhlw 1 <> siqgur pRswid ] jY Gir kIriq AwKIAY krqy kw hoie bIcwro ] iqqu Gir gwvhu soihlw isvirhu isrjxhwro ]1] qum gwvhu myry inrBau kw soihlw ] hau vwrI ijqu soihlY sdw suKu hoie ]1] rhwau ] inq inq jIAVy 5 smwlIAin dyKYgw dyvxhwru ] qyry dwnY kImiq nw pvY iqsu dwqy kvxu sumwru ] (12) 4) Raag Dhanasari: This Raag gives the optimistic approach to the listeners towards the future. Dhanasari is a sense of being fully careful. rwgu DnwsrI mhlw 1 ] ggn mY Qwlu riv cMdu dIpk bny qwirkw mMfl jnk moqI ] DUpu mlAwnlo pvxu cvro kry sgl 6 bnrwie PUlµq joqI ] (13)

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)93 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 5) Raag Gauri Purbi: Gauri Purbi includes the strong feelings of experiences and also motivates the listeners for the preparations to achieve more. Despite there are strong emotions in the Raag, there is a sense of heartfelt request to achieve the desired goal. The emotions of this Raag are taken as evaluation of the circumstances, without excess helplessness. mhlw 4 gauVI pUrbI ] hir dieAwil dieAw pRiB kInI myrY min qin muiK hir bolI ] gurmuiK rMgu BieAw Aiq gUVw hir 7 rMig BInI myrI colI ] (168) 6) Raag Siri : The basis of this Raag marinate in the customs of primary Indian classical music. This Raag is thought provoking where the listeners is provoked to be thoughtful for the advice given there in the mind of the listeners is made familiar with the truth of the message and educate to give strength to face the future with the experience gained and with modesty. <> siqgur pRswid ] rwgu isrIrwgu mhlw pihlw 1 Gru 1 ] moqI q mMdr aUsrih rqnI q hoih jVwau ] ksqUir kuMgU Agir cMdin lIip AwvY cwau ] 8 mqu dyiK BUlw vIsrY qyrw iciq n AwvY nwau ] (14) 7) Raag Majh: Raag Majh was composed by the fifth Sikh guru ( GuruArjanDevji). Punjabi folk music is the fountainhead of this Raag . The emotions expressed in this Raag have often been compared to that of a mother waiting for her child to return after long period. Although she is aware of the uncertainty of her child return, at the same moment she has hope for child‟s return. This Raag present the strong emotions of love highlighted by the pain of separation. mwJ mhlw 4 ] mDusUdn myry mn qn pRwnw ] hau hir ibnu dUjw Avru n jwnw ] 9 koeI sjxu sMqu imlY vfBwgI mY hir pRBu ipAwrw dsY jIau ] (94) 8) Raag Gauri Guarairi: The message of this Raag, that is the mixture calmness and control is open and truthful in its approach. The feelings are conveyed through very disciplined way. The focused and balanced character of this Raag is clear that is its structure is restricted to „madh-(middle scale)‟. gauVI guAwryrI mhlw 3 ] gur qy igAwnu pwey jnu koie ] gur qy bUJY sIJY soie ] gur qy shju swcu bIcwru ] gur qy pwey mukiq 10 duAwru ] (157)

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)94 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 9) Raag Gauri: This Raag encourages the listeners to work harder to achieve the ambition. It keeps the ego under control and listener is encouraged to prevent him becoming self important and arrogant. gauVI mhlw 1 ] pauxY pwxI AgnI kw mylu ] cMcl cpl buiD kw Kylu ] 11 nau drvwjy dsvw duAwru ] buJu ry igAwnI eyhu bIcwru ] (152) 10) Raag Gauri Dakhani: This South Indian style of this Raag including Taal(rhythm) emphasize the strict and disciplined facets of Gauri. gauVI mhlw 1 dKxI ] suix suix bUJY mwnY nwau ] qw kY sd bilhwrY jwau ] Awip Bulwey Taur n Twau ] qUM smJwvih myil 12 imlwau ]1] nwmu imlY clY mY nwil ] ibnu nwvY bwDI sB kwil ] (152) 11) Raag Gauri Chayti: This Raag generates the feeling of fear to make the listeners aware that what can happen if they lose the thing which they take for granted. It evokes the feeling of regret and panic by exposing the disastrous outcome as a warning. gauVI cyqI mhlw 1 ] AauKD mMqR mUlu mn eykY jy kir idRVu icqu kIjY ry ] jnm jnm ky pwp krm ky 13 kwtnhwrw lIjY ry ] (156) 12) Raag Gauri Bairagan: Gauri Bairagan is a Raag of bairag (pain of separation). The listeners is left to feel an intense feeling of pain and emptiness . However the balance of Raag assure that pain and emptiness motivates the listeners to find what actually is missing. gauVI bYrwgix mhlw 1 ] 14 rYix gvweI soie kY idvsu gvwieAw Kwie ] hIry jYsw jnmu hY kaufI bdly jwie ] (156) 13) Raag Gauri Purbi Deepaki: This Raag emphasize on self evaluation with a positive approach of improvement. It creates the environment of constant progress with experience and confidence. gauVI pUrbI dIpkI mhlw 1 <> siqgur pRswid ] 15 jY Gir kIriq AwKIAY krqy kw hoie bIcwro ] iqqu Gir gwvhu soihlw isvrhu isrjxhwro ] (157) 14) Raag Gauri Majh: This Raag well-planned emotional act which reaches to accomplish the longing created by Raag. This longing is as same as of Raag Majh‟s hope, contemplation and grieve. It is created knowingly to influence the listener to react to the yearning. gauVI mwJ mhlw 4 ]

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)95 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 Awau sKI gux kwmx krIhw jIau ] imil sMq jnw rMgu mwixh rlIAw jIau ] gur dIpku igAwnu sdw 16 min blIAw jIau ] hir quTY Fuil Fuil imlIAw jIau ] (173) 15) Raag Gauri Malva: Punjabi folk music based this Raag is influenced by the „malva‟region. The love of this Raag is very serious yet it can be regarded as a true friend‟s careful advice. This Raag convince the listeners in such a manner that it becomes impossible for the listener to disagree even if the listener does not like the given advice. rwgu gOVI mwlvw mhlw 5 <> siqgur pRswid ] hir nwmu lyhu mIqw lyhu AwgY ibKm pMQu BYAwn ]1] rhwau ] syvq syvq sdw syiv qyrY sMig bsqu hY 17 kwlu ] kir syvw qUM swD kI ho kwtIAY jm jwlu ]1 (214) 16) Raag Gauri Mala: The soul of Gauri Mala is the combination of pure, good and positive thoughts which are added collectively one by one. It evokes the feeling of hard work, enthusiasm, which encourages more loyalty towards truth. gauVI mwlw mhlw 5 ] pwieAw lwlu rqnu min pwieAw ] qnu sIqlu mnu sIqlu QIAw sqgur sbid smwieAw ]1] rhwau ] 18 (215) 17) Raag Gauri Sorath: This Raag has specific feeling of attraction and appeal which cultivates attention in listeners towards the target. It provides the sense of duty and realization to obey the given warning. gauVI BI soriT BI ] ry jIA inlj lwj quoih nwhI ] hir qij kq kwhU ky jWhI ]1] rhwau ] jw ko Twkuru aUcw hoeI ] so 19 jnu pr Gr jwq n sohI ]1] so swihbu rihAw BrpUir ] sdw sMig nwhI hir dUir ] (330) 18) Raag Aasaa kafi: Aasaa kafi creates a carefree environment. This Raag evokes the emotions boundless enthusiasm along with the past experiences which inspires a lot to the listeners. Awsw Gru 8 kwPI mhlw 3 <> siqgur pRswid ] hir kY BwxY siqguru imlY scu soJI hoeI ] gur prswdI min vsY hir bUJY soeI ]1] mY shu dwqw eyku hY 20 Avru nwhI koeI ] gur ikrpw qy min vsY qw sdw suKu hoeI ] (365) 19) Raag Asavari: Asavari has a nature of enthusiasm and real energy which influence the listeners to complete the tasks. rwgu AwswvrI Gru 16 ky 2 mhlw 4 suDMg <> siqgur pRswid ]

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)96 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 hau Anidnu hir nwmu kIrqnu krau ] siqguir mo kau hir nwmu bqwieAw hau hir ibnu iKnu plu rih n skau ]1] rhwau ] hmrY sRvxu ismrnu hir kIrqnu hau hir ibnu rih n skau hau ieku iKnu ] jYsy 21 hMsu srvr ibnu rih n skY qYsy hir jnu ikau rhY hir syvw ibnu] (369) 20) Raag Aasaa Asavari: Aasaa Asavari provides a strong sense of capability in a listener to achieve the desired goal. It also provides the assurance for the achievement of goal with full confidence, courage and love. It brings out best of the personality providing necessary knowledge to an individual. AwswvrI mhlw 5 ]

mnsw eyk mwin hW ] gur isau nyq iDAwin hW ] idRVu sMq mMq igAwin hW ] syvw gur crwin hW ] 22 qau imlIAY gur ik®pwin myry mnw ] (409) 21) Raag Devgandhari: It provides the feeling of satisfaction which is the result of achievement we achieve. It gives the listener empowerment to do more and to curtail the lethargy. This feeling of satisfaction gives the listener extreme happiness and leaves him in with the sense of being the part of heaven. dyvgMDwrI mhlw 5 Gru 2 <> siqgur pRswid ]

mweI gur crxI icqu lweIAY ] pRBu hoie ik®pwlu kmlu prgwsy sdw sdw hir iDAweIAY ]1]rhwau] AMqir eyko bwhir eyko sB mih eyku smweIAY ] Git AvGit rivAw sB TweI hir pUrn bRhmu idKweIAY 23 ] (428) 22) Raag Bihagara: The nature of this Raag is that of extreme pain and sorrow which increase the need to find understanding and peace. rwgu ibhwgVw mhlw 9 ] 24 hir kI giq nih koaU jwnY ] jogI jqI qpI pic hwry Aru bhu log isAwny ] (537) 23) Raag Vadhans: It is based on Punjabi Folk music. This Raag incubates in the cultures of „Ghoreea‟, „Suhag‟ and „Alohnian‟. The emotions inculcate by this Raag can be compared to those of a bride on her wedding. She is sad and happy. Though she is going to her groom with hope and joy, there is also a feeling of sadness of leaving her family. vfhMsu mhlw 3 ] ndrI sqguru syvIAY ndrI syvw hoie ] ndrI iehu mnu vis AwvY ndrI mnu inrmlu hoie ]1] myry mn 25 cyiq scw soie ] eyko cyqih qw suKu pwvih iPir dUKu n mUly hoie ] (558) 24) Raag Vadhans Dakhani: The nature of this Raag is similar to Raag Vadhans, howbeit due to its South Indian style of expression, it is more disciplined in its nature.

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)97 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 vfhMsu mhlw 1 dKxI ] scu isrMdw scw jwxIAY scVw prvdgwro ] ijin AwpInY Awpu swijAw scVw AlK Apwro ] duie puV 26 joiV ivCoiVAnu gur ibnu Goru AMDwro ] sUrju cMdu isrijAnu Aihinis clqu vIcwro ] (580) 25) Raag Sorath: Sorath conveys the feeling of strong belief in something that you keep on rehearse the experiences. In reality this emotion of certainty is so powerful that you start living in that belief. The atmosphere of this Raag is so strong that even an unresponsive listener will be fascinated. soriT mhlw 1 Gru 1 ]

mnu hwlI ikrswxI krxI srmu pwxI qnu Kyqu ] nwmu bIju sMqoKu suhwgw rKu grIbI vysu ] Bwau krm 27 kir jMmsI sy Gr BwgT dyKu ] (595) 26) Raag Jaitsiri: It gives the emotion of not being able to live without someone. It is engrossed with the feeling of dependence and amazing sense of badly reaching out to be with someone. jYqsrI mhlw 4 hIrw lwlu Amolku hY BwrI ibnu gwhk mIkw kwKw ] rqn gwhku guru swDU dyiKE qb rqnu ibkwno lwKw ]1] myrY min gupq hIru hir rwKw ] dIn dieAwil imlwieE guru swDU guir imilAY hIru prwKw ] 28 (696) 27) Raag Todi: This Raag comprises both modesty and wisdom. Through these sentiments the Raag takes a simple attitude to explain the things which we fail to consider and explain with such an assurance that listener is forced to agree. tofI mhlw 5 mwnuKu ibnu bUJy ibrQw AwieAw ] Aink swj sIgwr bhu krqw ijau imrqku EFwieAw ] rhwau ] Dwie Dwie ik®pn sRmu kIno iekqR krI hY mwieAw ] dwnu puMnu nhI sMqn syvw ikq hI kwij n AwieAw 29 ] (712) 28) Raag : Raag Bairari arouse the expression of refining the task which has already been fulfilled and it evokes a hunger and desire to progress to the next level. bYrwVI mhlw 4 ] jip mn rwm nwmu insqwrw ] kot kotMqr ky pwp siB KovY hir Bvjlu pwir auqwrw ]1] rhwau ] kwieAw ngir bsq hir suAwmI hir inrBau inrvYru inrMkwrw ] hir inkit bsq kCu ndir n AwvY 30 hir lwDw gur vIcwrw ] (720)

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)98 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 29) Raag Tilang: Tilang consist the feeling that when trying to impress someone dear your efforts has been unappreciated. Here the atmosphere is not an agony but of ruminating because the person you are trying to impress is someone dear to you. iqlµg mÚ 1 ] ieAwnVIey mwnVw kwie kryih ] AwpnVY Gir hir rMgokI n mwxyih ] shu nyVY Dn kMmlIey bwhru ikAw FUFyih]BY kIAw dyih slweIAw nYxI Bwv kw kir sIgwro] qw sohwgix jwxIAY lwgI jw shu Dry ipAwro] 31 (722) 30) Raag Tilang Kafi: This Raag also contains same feelings that your effort has not been appreciated when trying to impress someone but unlike the Raag Tilang here the person remains undisturbed by this expression. This aspect arises due to deep love with the concerned being which prevents anger to become the part of an individual. iqlµg mhlw 9 kwPI <> siqgur pRswid ] cyqnw hY qau cyq lY inis idin mY pRwnI ] iCnu iCnu AauD ibhwqu hY PUtY Gt ijau pwnI ]1] rhwau ] 32 hir gun kwih n gwvhI mUrK AigAwnw ] JUTY lwlic lwig kY nih mrnu pCwnw ] (726) 31) Raag : It is an expression of such affection that the listener experiences undying love and utmost closeness. The listener is overwhelmed with love and understands what to cherish. sUhI mhlw 1 Gru 2 <> siqgur pRswid ] AMqir vsY n bwhir jwie ] AMimRqu Coif kwhy ibKu Kwie ]1] AYsw igAwnu jphu mn myry ] hovhu cwkr 33 swcy kyry ]1] rhwau ] igAwnu iDAwnu sBu koeI rvY ] bWDin bWiDAw sBu jgu BvY ] (728) 32) Raag Suhi Kafi: It conveys the feeling of security and deep love, like that of a parent and a child. For example a young child feel so confident and secure when surrounded by parents love. The feeling of love is that much strong that an individual gains confidence without any uneasiness being so secure in the love surrounded. sUhI mhlw 1 Gru 9 <> siqgur pRswid ] kcw rMgu ksuMB kw QoViVAw idn cwir jIau ] ivxu nwvY BRim BulIAw Tig muTI kUiVAwir jIau ] scy syqI riqAw jnmu n dUjI vwr jIau ]1] rMgy kw ikAw 34 rMgIAY jo rqy rMgu lwie jIau ] rMgx vwlw syvIAY scy isau icqu lwie jIau ] (751) 33) Raag Suhi Lalit: This Raag has the feeling of emotional courage. There is a inconsistent feature in this feeling that is though there is love in these feeling, there is also a boldness to move forward to attain the desired goal.

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)99 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 sUhI kbIr jIau lilq ] Qwky nYn sRvn suin Qwky QwkI suMdir kwieAw ] jrw hwk dI sB miq QwkI 35 eyk n Qwkis mwieAw ]1] bwvry qY igAwn bIcwru n pwieAw ] ibrQw jnmu gvwieAw ] (793) 34) Raag Bilaval: Bilaval conveys the emotions of extreme happiness after achieving that desired goal. The happiness experienced is like complete satisfaction with full of joy and fulfilment when the attained goal is the most valuable achievement for an individual. It's an emotion of natural happiness perceived from the accomplishment. iblwvlu mhlw 3 ] Aqulu ikau qoilAw jwie ] dUjw hoie q soJI pwie ] iqs qy dUjw nwhI koie ] iqs dI kImiq ikkU hoie ]1] gur prswid vsY min Awie ] qw ko jwxY duibDw jwie ]1] rhwau ] 36 (797) 35) Raag Bilaval Dakhani: This Raag gives the feeling of great happiness and confidence attained from the accomplishment of goal which is impossible to attain. It is full of enthusiasm which can be shown by singing south Indian style of expression and its fast rhythm . iblwvlu mhlw 1 CMq dKxI <> siqgur pRswid ] muMD nvylVIAw goieil AweI rwm ] mtukI fwir DrI hir ilv lweI rwm ] ilv lwie hir isau rhI goieil shij sbid sIgwrIAw ] kr joiV gur pih kir ibnµqI imlhu swic ipAwrIAw ] Dn Bwie BgqI dyiK pRIqm kwm k®oDu invwirAw ] nwnk muMD 37 nvyl suMdir dyiK ipru swDwirAw ] (843) 36) Raag : Gond is an emotion of victory. But the feeling of victory is completely balanced with the feeling of modesty. There is a feeling of understanding the goal achieved but also an emotion of not to be captivated in the goal itself. goNf mhlw 4 ] AYsw hir syvIAY inq iDAweIAY jo iKn mih iklivK siB kry ibnwsw ] jy hir iqAwig Avr kI Aws kIjY qw hir inhPl sB Gwl gvwsw ] myry mn hir syivhu suKdwqw suAwmI 38 ijsu syivAY sB BuK lhwsw ] (860) 37) Raag Bilaval Gond: Bilaval Gond expresses the emotion of bliss and determination but without any self importance. The nature of this Raag is of abstract happiness but in a disciplined way so that the feeling of happiness should not be out of control. This Raag has a very thoughtful strategy to maintain its style. iblwvlu goNf ] Awju nwmy bITlu dyiKAw mUrK ko smJwaU ry ] rhwau ] pWfy qumrI gwieqRI loDy kw Kyqu 39 KwqI QI ] lY kir Tygw tgrI qorI lWgq lWgq jwqI QI ] (874) 38) Raag Raamkali: Raamkali presents the feelings like those of a good and wise teacher disciplining students. It conveys the feeling of understanding that knowledge which the

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)100 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 students are gaining is meant for their betterment. Students are very well aware of challenges and pain of learning but still they are very much conscious that actually it is for the best. rwmklI mhlw 1 ] ijqu dir vsih kvnu dru khIAY drw BIqir dru kvnu lhY ] ijsu dr kwrix iPrw 40 audwsI so dru koeI Awie khY ]1] ikn ibiD swgru qrIAY ] jIviqAw nh mrIAY ]1] (877) 39) Raag Ramkali Dakhani: Dakhni constructed an environment of change from old to new with the certainty that this transformation is worthwhile. These emotions are expressed with South Indian rhythm and style. rwmklI dKxI mhlw 1 ] jqu squ sMjmu swcu idRVwieAw swc sbid ris lIxw ]1] myrw guru dieAwlu 41 sdw rMig lIxw ] Aihinis rhY eyk ilv lwgI swcy dyiK pqIxw ] (907) 40) Raag Nat Narayan: This Raag comprises the feeling of carelessness and impatience but simultaneously there is firmness and control. Though there is control in the expressions of the Raag but it can overturn at anytime. rwgu nt nwrwien mhlw 4 <> siq nwmu krqw purKu inrBau inrvYru Akwl mUriq AjUnI sYBM gur pRswid ] myry mn jip Aihinis nwmu hry ] koit koit doK bhu kIny sB prhir pwis Dry ]1] rhwau ] hir hir nwmu jpih AwrwDih syvk Bwie Kry ] iklibK doK gey sB nIkir ijau pwnI mYlu hry ] 42 (975) 41) Raag Nat: Nat creates the feeling of being out of control and wild yet it returns from the edge point of extreme wild and uncontrollable expressions creating a sense of relief by reconstructing stability and control. This Raag makes an environment of suspense by using its skills. nt mhlw 4 ] rwm jip jn rwmY nwim rly ] rwm nwmu jipE gur bcnI hir DwrI hir ik®ply ]1] rhwau ] hir hir Agm Agocru suAwmI jn jip imil sll slly ] hir ky sMq imil rwm rsu 43 pwieAw hm jn kY bil blly ] (975) 42) Raag Mali Gaura: This Raag provides the aplomb of an expert. It gives you true bliss as because you have become skilled and learned how to handle different things with knowledge and skills of an expert which you gained from your experiences and therefore with this ability it creates the nature of coolness. mwlI gauVw mhlw 4 ] jip mn rwm nwmu suKdwqw ] sqsMgiq imil hir swdu AwieAw gurmuiK bRhmu pCwqw ]1] rhwau ] vfBwgI gur drsnu pwieAw guir imilAY hir pRBu jwqw ] durmiq mYlu geI sB 44 nIkir hir AMimRiq hir sir nwqw ] (984)

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)101 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 43) Raag Maru: This Raag has a fierce nature. It is used in the battlefield before the preparation of war. Maru provides inner strength and power to state and accentuate the truth ignoring all the consequences. mwrU mhlw 1 ] imil mwq ipqw ipMfu kmwieAw ] iqin krqY lyKu ilKwieAw ] ilKu dwiq joiq vifAweI ] imil mwieAw suriq gvweI ]1] mUrK mn kwhy krsih mwxw ] auiT clxw KsmY Bwxw ] 45 (989) 44) Raag Maru Kafi: Maru Kafi has compelling and brusque nature. Being harsh and direct in expressing still it manages to express feelings in sweet and fascinating way. This Raag has rigid nature, still it maintains the capability and allure to influence the listener. As the listener, it compels you to listen willingly even though the emotions are blunt and rude. mwrU kwPI mhlw 1 Gru 2 ] Awvau vM\au fuMmxI ikqI imqR kryau ] sw Dn FoeI n lhY vwFI ikau DIryau ]1] mYfw mnu rqw AwpnVy ipr nwil ] hau Goil GumweI KMnIAY kIqI ihk BorI ndir inhwil 46 ] (1014) 45) Raag Maru Dakhani: Maru Dakhani being emphasized by South Indian style of expression and taal, Maru Dakhani creates the nature of truth and reality in rigorous and direct way. mwrU mhlw 1 dKxI ] kwieAw ngru ngr gV AMdir ] swcw vwsw puir ggnµdir ] AsiQru Qwnu sdw inrmwielu Awpy Awpu aupwiedw ]1] AMdir kot Cjy htnwly ] Awpy lyvY vsqu smwly ] bjr kpwt jVy 47 jiV jwxY gur sbdI Kolwiedw ] (1033) 46) Raag Tukhari: Tukhari conveys the soul‟s desire to glorify the greatness of The Creator to mind which is its important goal irrespective of the unresponsive bent of stubborn mind. The emotions of Tukhari are also influenced by the strong ambition of the soul to persuade the mind to follow the path of highlighting the greatness of the Creator and to be the part of Akal. quKwrI CMq mhlw 1 bwrh mwhw <> siqgur pRswid ] qU suix ikrq krMmw purib kmwieAw ] isir isir suK shMmw dyih su qU Blw ] hir rcnw qyrI ikAw giq myrI hir ibnu GVI n jIvw ] ipRA bwJu duhylI koie n bylI gurmuiK AMimRqu pIvW ] rcnw rwic rhy inrMkwrI pRB min krm sukrmw ] nwnk 48 pMQu inhwly sw Dn qU suix Awqm rwmw ] (1107) 47) Raag Kedara: Raag kedara makes the mind aware of the true identity and nature of the conscience. It gives the expressions of veracious, virtue and honesty in a direct manner. The mind is being made aware of the character of the soul, without creating any dishonest belief.

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)102 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 kydwrw mhlw 4 Gru 1 <> siqgur pRswid ] myry mn hir hir gun khu ry ] siqgurU ky crn Doie Doie pUjhu ien ibiD myrw hir pRBu lhu ry ] rhwau ] kwmu k®oDu loBu mohu AiBmwnu ibKY rs ien sMgiq qy qU rhu ry ] imil sqsMgiq kIjY hir gosit swDU isau gosit hir pRym rswiexu rwm nwmu rswiexu hir 49 rwm nwm rwm rmhu ry ] (1118) 48) Raag Bhairao: This Raag illustrates the soul‟s devotion towards the Creator. Its type of revolutionary expression of not being caring for anything else except adoring the Creator .In Bhairao , the soul carries the happiness which any mind can experience only if it adores the Creator. rwgu BYrau mhlw 1 Gru 2 ] gur kY sbid qry muin kyqy ieMdRwidk bRhmwid qry ] snk snµdn qpsI jn kyqy gur prswdI pwir pry ]1] Bvjlu ibnu sbdY ikau qrIAY ] nwm ibnw jgu roig ibAwipAw 50 duibDw fuib fuib mrIAY ] (1125) 49) Raag Basant: Basant signifies the beginning of something new. Like the spring season removes all the dead leaves of flowers and gives a fresh start to them, this Raag encourages an individual to remove all evils and to begin a new life. It makes an individual encouraged to put the efforts for a new beginning. mhlw 1 bsMqu ] ruiq AweIly srs bsMq mwih ] rMig rwqy rvih is qyrY cwie ] iksu pUj cVwvau 51 lgau pwie ]1] qyrw dwsin dwsw khau rwie ] jgjIvn jugiq n imlY kwie ] (1168) 50) Raag Basant Hindol: Basant Hindol conveys the bliss and newness of the new beginning and also states the gladness, which is the outcome of hard work. It creates an environment of satisfaction and ease attained because of the new beginning. bsMqu mhlw 1 ihMfol ] swhurVI vQu sBu ikCu swJI pyvkVY Dn vKy ] Awip kucjI dosu n dyaU jwxw nwhI rKy ]1] myry swihbw hau Awpy Brim BulwxI ] AKr ilKy syeI gwvw Avr n jwxw bwxI 52 (1171) 51) Raag Sarang: Sarang conveys the feeling to sooth and quench the self centred and negative nature of minds. It enlighten the pure thoughts of the soul. swrMg mhlw 4 Gru 1 <> siqgur pRswid ] hir ky sMq jnw kI hm DUir ] imil sqsMgiq prm pdu pwieAw Awqm rwmu rihAw BrpUir ]1] rhwau ] siqguru sMqu imlY sWiq pweIAY iklivK duK kwty 53 siB dUir ] Awqm joiq BeI prPUilq purKu inrMjnu dyiKAw hjUir ] (1198) 52) Raag : This Raag is an interaction of the emotions from the soul, to make the mind cool and refresh. It provides calmness and sense of satisfaction to the mind which has strong

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)103 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 desire to achieve the success quickly and without hard work. Malhar soothes the mind by providing a sense of gratification to it. mlwr mhlw 1 ] ijin Dn ipr kw swdu n jwinAw sw iblK bdn kumlwnI ] BeI inrwsI krm kI PwsI ibnu gur Brim BulwnI ]1] brsu Gnw myrw ipru Gir AwieAw ] bil jwvW gur Apny pRIqm 54 ijin hir pRBu Awix imlwieAw ] (1255) 53) Raag Kaanara: Kaanara generates the feeling of being conquered by an impressive personality to whom it becomes difficult to stop thinking about. This personality has an appealing character that forces you to make it your own. Its remarkable qualities is able to gain victory over you. kwnVw mhlw 4 ] myrw mnu sMq jnw pg ryn ] hir hir kQw sunI imil sMgiq mnu korw hir rMig Byn ]1] rhwau ] hm Aicq Acyq n jwnih giq imiq guir kIey suicq icqyn ] pRiB dIn dieAwil kIE 55 AMgIik®qu min hir hir nwmu jpyn ] (1294) 54) Raag Kalian: Kalian has compelling, but adaptable nature. It conveys the desire to achieve something by whatever means possible. Kalian sometimes uses adaptable nature and at other moment it uses forceful means to attain its desired goal. kilAwnu mhlw 4 ] hir jnu gun gwvq hisAw ] hir hir Bgiq bnI miq gurmiq Duir msqik pRiB iliKAw ]1] rhwau ] gur ky pg ismrau idnu rwqI min hir hir hir bisAw ] hir hir hir kIriq 56 jig swrI Gis cMdnu jsu GisAw ] (1319) 55) Raag Kalian Bhopali: Kalian Bhopali‟s nature is to provide the confidence to achieve the desired aim. However it is not adjustable in its attitude, as the desired aim is handled directly and in a disciplined way without any hesitation. kilAwnu BopwlI mhlw 4 <> siqgur pRswid ] pwrbRhmu prmysuru suAwmI dUK invwrxu nwrwiexy ] sgl Bgq jwcih suK swgr Bv iniD qrx hir icMqwmxy ]1] rhwau ] dIn dieAwl jgdIs dmodr 57 hir AMqrjwmI goibMdy ] qy inrBau ijn sRIrwmu iDAwieAw gurmiq murwir hir mukMdy ] (1321) 56) Raag Parbhati Bibhas: This Raag expresses the feeling of understanding between the self concerned mind and devotion of the soul. The „partaal‟ rhythm depicts the transformation in the method which is invoked by compromise, yet it also accentuate the balance of concentration. rwgu prBwqI ibBws mhlw 1 caupdy Gru 1 ] nwie qyrY qrxw nwie piq pUj ] nwau qyrw ghxw miq mksUdu ] nwie qyrY nwau mMny sB koie ] ivxu nwvY piq kbhu n hoie ]1] Avr isAwxp sglI pwju ]

------Website: www.tskp.in Email: [email protected] ISSN-2700-2926 (Online)104 International Online Peer Review Refreed Research Journal TRIVAINI SANGEETAK KHOJ PATRIKA {Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020 jY bKsy qY pUrw kwju ]1] rhwau ] nwau qyrw qwxu nwau dIbwxu ] nwau qyrw lskru nwau sulqwnu ] nwie 58 qyrY mwxu mhq prvwxu ] qyrI ndrI krim pvY nIswxu ] (1327) 57) Raag Parbhati: The feelings expressed in this Raag are of extreme zeal; there is a deep determination and love for the individual it is devoted to. This devotion arises from the commonsense, deep analysis and wisdom. pRBwqI mhlw 1 ] qyrw nwmu rqnu krmu cwnxu suriq iqQY loie ] AMDyru AMDI vwprY sgl lIjY Koie 59 ]1] iehu sMswru sgl ibkwru ] qyrw nwmu dwrU Avru nwsiq krxhwru Apwru ] (1357) 58) Raag Parbhati Dakhani: The nature of this Raag is much similar to that of Parbhati, except its feeling of devotion which are more disciplined. This disciplined nature arises from South Indian style of expression. pRBwqI mhlw 1 dKxI ] goqmu qpw AihilAw iesqRI iqsu dyiK ieMdRü luBwieAw ] shs srIr ichn Bg hUey qw min pCoqwieAw ]1] koeI jwix n BUlY BweI ] so BUlY ijsu Awip Bulwey bUJY ijsY buJweI ] 60 (1344) 59) Raag Bibhas Parbhati: This Raag has a self reliant nature and has a sense of certitude, which is gained through the awareness. It expresses the knowledge achieved from learning, which inspire gratification. However, this knowledge is not arrogant, but is benign in its influence because there is no need to boast the wisdom achieved, but a desire to share it with the receiver to make him able to learn. ibBws pRBwqI mhlw 5 AstpdIAw <> siqgur pRswid ] mwq ipqw BweI suqu binqw ] cUgih cog Anµd isau jugqw ] auriJ pirE mn mIT muohwrw ] gun gwhk myry pRwn ADwrw ]1] eyku hmwrw 61 AMqrjwmI ] Dr eykw mY itk eyksu kI isir swhw vf purKu suAwmI ] (1347) 60) Raag Jaijavanti: This Raag comprises dual emotions that is happiness and sadness which works simultaneously. It conveys the feeling of bliss and contentment of the achievement, but also expresses the sadness of losing. A perfect example for this Raag is that the parents of newly married girl who feel happy for the new beginning of life of their daughter simultaneously feel repressed because of the separation of their daughter. Both these emotions help to remain stable. rwgu jYjwvMqI mhlw 9 ] rwmu ismir rwmu ismir iehY qyrY kwij hY ] mwieAw ko sMgu iqAwgu pRB jU kI srin lwgu ] jgq suK mwnu imiQAw JUTo sB swju hY ]1] rhwau ] supny ijau Dnu pCwnu kwhy pir 62 krq mwnu ] bwrU kI BIiq jYsy bsuDw ko rwju hY ] (1352)

1 Dr. M. Tyagi, Significance Of Compositional Forms in Hindustani Classical Music,p-xiii.

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2 Ragas as defined in Guru Granth Sahib. 3 ਸ੍ਰੀ ਗੁਰੂ ਗਰੰਥ ਸ੍ਾਹਿਬ, ਅੰਕ. 9 4 auhI, AMk-10 5 auhI, AMk-12 6 auhI, AMk-13 7 auhI, AMk-169 8 auhI, AMk-14 9 auhI, AMk-94 10 auhI, AMk-157 11 auhI, AMk-152 12 auhI, AMk-152 13 auhI, AMk-156 14 auhI, AMk-156 15 auhI, AMk-156 16 auhI, AMk-163 17 auhI, AMk-218 18 auhI, AMk-215 19 auhI, AMk-330 20 auhI, AMk-365 21 auhI, AMk-369 22 auhI, AMk-409 23 auhI, AMk-428 24 auhI, AMk-537 25 auhI, AMk-559 26 auhI, AMk-590 27 auhI, AMk-595 28 auhI, AMk-696 29 auhI, AMk-712 30 auhI, AMk-720 31 auhI, AMk-722 32 auhI, AMk-726 33 auhI, AMk-728 34 auhI, AMk-751 35 auhI, AMk-793 36 auhI, AMk-796 37 auhI, AMk-843 38 auhI, AMk-960 39 auhI, AMk-874 40 auhI, AMk-877 41 auhI, AMk-907 42 auhI, AMk-975 43 auhI, AMk-975 44 auhI, AMk-984 45 auhI, AMk-989 46 auhI, AMk-1014 47 auhI, AMk-1033 48 auhI, AMk-1107 49 auhI, AMk-1118 50 auhI, AMk-1125 51 auhI, AMk-1168

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52 auhI, AMk-1171 53 auhI, AMk-1198 54 auhI, AMk-1255 55 auhI, AMk-1294 56 auhI, AMk-1319 57 auhI, AMk-1321 58 auhI, AMk-1327 59 auhI, AMk-1357 60 auhI, AMk-1344 61 auhI, AMk-1347 62 auhI, AMk-1352

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