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Concept of Raga in Guru Granth Sahib: a Divine Approach Dr

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Concept of Raga in Guru Granth Sahib: a Divine Approach Dr 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 Raga in Guru Granth Sahib: 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 Guru Nanak 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 ragas 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 Kirtan 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 Indian classical music 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, Tarana Qawali and created few taals e.g. (Farodast, Theka qawali Jhoomra) and instruments like sitar, dhol etc. resulting the establishment of Hindustani Music around the country which later got divided into Northern classical music and Carnatic music. 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 Sikhs 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, Gauri 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 Sorath, Aasa Kaafi, Asavari, Aasa Asavari, Devgandhari, Bihagra, Vadhans, Vadhans Dakhni, Sorath, Jaitsri, Todi, Bairarri, Tilang, Tilang Kaffi, Suhee, Suhee Kafi, Suhee Lalit, Bilaval, Bilaval Dakhani, Gound, Bilaval Gound, Ramkali, Ramkali Dakhani, Nat Narayan, Nat, Malli Gaura, Maru, Maru Kaffi, Maru Dakhni, Tukhari, Kedara, Bhairo, Basant, Basant Hindol, Sarang, Malar, Kanhda, Kaliyan, Kaliyan Bhopali, Parbhati Bibhas, 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
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