ਸਰਬੱਤ ਖਾਲਸਾ ਫ਼ਾਉਂਡੇਸ਼ਨ
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Personality, Emotion, Mood and Musical Mapping
Introduction: Music influences mood and emotion in the short term and therefore, also, personality over the long term. This phenomenon applies not only to individuals but also to communities and nations, who adopt national anthems to reflect their identities.
In the Indian sub-continent, it has been accepted from ancient times that music evokes nine types of basic emotions, known as ‘Navarasa’. Sound, or ‘Naad’ was recognised as the primal source of music, comprising tonal and microtonal elements, while ‘Anaad’ is the Identity or ‘sound’ generated by the Divine, and the ultimate object of the soul’s ‘attunement’ through (silent) meditation.
Music: The Swara (notes) are seven distinct natural sounds, each of which contribute to emotion. Musical phrases such as Pakad and Chalan are used to identify associated rasa and raga classification according to the emotions they evoke. Along with Pakad and Chalan, the pitch quality, tonality, intensity, rhythm, timbre, lyrics, and musical environment are some other key parameters that can affect the mood and persona of the listener.
A raga, or scale of between 5-7 notes, can evoke more than one rasa. Sur (Tonality), Taal (Rhythm), Shruti (Microtone) and Laya (Tempo) are the basic elements used to synthesize inter-relationships in terms of low-level features such as signal strength or high-level emotional labels such as Rasa.
Emotion and Mood: Raga-rasa theory discovers the relationship between musical features and mood. Mapping of mood with music involves audio feature extraction and multi – label classification into moods, scientifically undertaken in [1], and provided here for convenience:
Emotion Rasa Music Features
Happy, Shringar Tempo fast,
Pleased, Hasya, Harmony simple,
Joyous, Bhakti Mode major
Wonder, Abdhut Tempo Fast,
Astonishment, Loud,
Excited Mode Major, Pitch high/angry,
Tense, Raudra, Tempo fast,
Afraid Bhayanak Mode minor, Loud, Pitch high, Rhythm complex
Heroic, Veer Tempo Fast,
Alarm Mode Minor, Loud, Harmony complex,
Sad, Karuna Tempo Slow,
Pathos
Tender Shringar, Tempo Slow,
Longing Karuna Soft
Melancholy Pitch variation small,
Peace, Shanta, Tempo Slow,
Tranquility, Bhakti Soft
Serene Pitch low
No. Shruti Rasas
- Tivra -Acuteness, tenseness, Impetuosity
- Kumudwati -Plainness, cheerfulness
- Manda Slowness, -Laziness, leisureliness
- Chhandovati -Peacefulness, heroism, desire
- Dayavati -Compassion, gentleness, devotion
- Ranjani -Pleasure, colourful delectation
- Raktika -Joy, passion, devotion
- Raudri -Anger, heat, terror, ecstasy
- Krodha -Wrath, severity, persistence
- Vajrika -Thundering, hardness, roughness
- Prasarini -Expansion, diffusion, coming forth
- Priti Love, -Friendship, kindness
- Marjani -Cleansing, derision, mocking
- Kshati -Decay, loss, remission
- Rakta -Passion, attachment, playfulness
- Sandipani -Inflaming, provoking love, passion
- Alapini -Friendly , conversing
- Maadanti -Intoxication, passion
- Rohini -Adolescence, lightning
- Ramyaa -Night, rest, solitude, love, peace
- Ugra -Fear, awe, might, passion
- Kshobhini-Agitation, indecision, trouble
Swara- Shruti-Rasa:
- Shadja – Tivra, Kumudwati, Manda – Shanta, Veer (Peace, Tranquility, Heroism)
- Rishabha – Dayawati, Ranjani, Raktika – Adbhuta
- Gandhara – Roudri, Krodhi, Vajrika – Raudra (Anger)
- Madhyam – Prasarini, Priti, Marjini – Shringar, Hasya (Love, Joy)
- Pancham – Kshati, Rakta, Sandipani, Alapini – Shringar (Eroticism)
- Dhaivat – Madanti, Rohini, Ramya – Bibhatsa, Bhayanak (Disgust, Fright)
- Nishad – Ugra, Kshovini – Karuna (Sadness, Melancholy)
Musical Mapping: Approaches to extract musical features like swara combination, aroha and avaroha include Multi-Layer Perceptrons and Neural Networks and have led to the following mappings:
No. Rasa Raag
1) Shringara Kafi, Yaman, Basant, Pilu, Khamaj, Bhairavi, Des, Tilang, Tarana, Zinzoti
2) Hasya Pahadi, Dhani, Bahar, Tilakkamod, Khambawati, Malhar
3) Karuna Jogiya, Ramkali, Kalingada, Bhairavi, Sohani, Marva, Todi
4) Raudra Shankara, Bhup, Puriya, Malkauns, ShuddhaSaranga, Bahar
5) Veera Shankara, Hindol, Kedar, Patadeep, Kamod, Malkauns
6) Bhayanaka Shree, Deepak, Malshree, Jaitashree, Jait
7) Bibhatsa Music with improper tonality
8) Adbhut Basanta, Bahar, AlhaiyaBilawal, Parameshwari, Bhairavbahar, KaunsiKanada
9) Shanta Bhairav, Bhairavi, DarbariKanada, Multaani, Bhimpalasi, Purvi, Jayjaywanti
Different brain regions perform specific functions in the processing of music. The effect of musical stimuli on left and right hemispheres of the brain has been observed using Electroencephalography (EEG). EEG has shown significant relationship between theoretical arousal and valence models of music-emotion mapping and actual emotional activities in the brain.
The EEG methodology was successfully pioneered by the late Dr Surinder Kaur in the UK in the early 2000’s, both for the treatment of personality disorder and for performance enhancement, [2]-[6], and is now used widely within main stream general practice. At the same time, music therapy has since been used by thousands of US hospitals to successfully reduce length of patient stay, particularly for new-born infants [7].
Personality: Significantly, our moods and emotions are affected not only the by time of day, morning, noon or night but also the seasons. Ragas too, are prescribed and proscribed accordingly. As the personality is affected by the environment, so a personality can impact the environment.
By way of example, and in tribute to the legacy of Dr Kaur, a lifetimes work and achievement is soughtt to be encapsulated by the qualities of both Shaanti and Veer Rasa, or tranquillity and heroism (Shadaj), persistence (Gandhar), love, (Madhyam), empathic communication (Pancham), and confrontation of much sadness and melancholy, Karuna (Nishaad). These Swaras map to the Shringar/Karuna laden Raga Tilang, some examples of which are cited below, [8]-[10].
References
[1] Analysis of Features for Mood Detection in North Indian Classical Music-A Literature Review, 2017
https://www.researchgate.net/publication/318760264
[2] https://www.telegraphindia.com/science/it-s-a-brainwave/cid/1538670
[3] https://www.watfordobserver.co.uk/news/5779431.training-your-brain-through-mind-games/
[5] http://www.nystagmus.org/discus/messages/118/259.html?TuesdayFebruary2520030459pm
[6] http://www.adders.org/news60.htm
[7] http://passionforfreshideas.com/personalgrowth/power-music/
[8] Mai Andhule ki Tek https://www.youtube.com/watch?v=71pAPGYLLvI
[9] Mehrban Sahib Mehrban https://www.youtube.com/watch?v=G59aMmOOEDY
[10] Hau Qurbane Jao https://www.youtube.com/watch?v=ZFCqiuvzMeA
Emergence of a Separate Sikh Musicology via Raga and Ghar Classification in the Guru Granth Sahib
The Overarching Raga Structure of the Guru Granth Sahib
Historically, Guru Nanak and the Sikhs generally, have perhaps rightly been depicted as anti-establishment forces who railed against the political and religious ruling classes, while at the same time championing disenfranchised political and religious groups seeking their sanctuary. As such, they saw themselves as distinct from the prevailing political and religious status quo and this extended to the cultural and artistic sphere as well. Guru Nanak’s new philosophy was to be underpinned by music and knowledge, Gurmukh Naadn, Gurmukh Vedn [1] and thus did not subscribe to either the Hindustani or Carnatic schools of Indian music, performed at royal courts from afar fields as Afghanistan to Assam or from Sino-Tibet to Sri-Lanka. Yet, Guru Nanak clearly patronized the populist folk and classical ragas of these far-off places, not least to admonish the ruling classes in their native genres. Famously, Guru Nanak took to task the invading Babur in the Baburvani of Raga Tilang [2], risking and enduring imprisonment, while not sparing the collaborating Brahmins in the epic of Asa ki Var for saluting the oppressor [3]. Recent revelations from the Vatican [4], also show that Christian states were castigated by the Guru for the appalling slave trade, which criticism the Vatican accepted, while also meeting with Martin Luther, the Protestant reformer. On the other hand, Guru Nanak and successor Gurus openly embraced the Sufi writings of Sheikh Farid, establishing the order of Rababis from the Muslim Mirasis of Western Punjab and those of the Bhat Brahmins from the Eastern districts. Guru Nanak used no less than six Southern variants or Dakhni Ragas in his own repertoire. This raises the question as to whether the extensive travels or Udasis of Guru Nanak were, in part, musical odysseys establishing separate centers of music with distinct and new ragas, while also maintaining a substantial overlap with the other schools, albeit with a distinctive style. As well as the aforementioned Northern and Southern Ragas, the Deepaki-Purvi variations were accrued from Eastern travels while the new raga, Tukhari, was perhaps first rendered during sojourns in the snow laden Himalayan region. As aptly put by Dr. Muthu Mohan, Guru Nanak Devji Chair, Kamaraj University, in his Sikhs and Tamils: The Indus Connection [5]:
Guru Nanak had the opportunity to see both the ends of the devotional culture. He understood the strength of Devotion as a true and popular feeling as well its historically corrupt developments. He had the opportunity to travel all over India and even out of India, and encountered the available forms of religiosity in the length and breadth of the land. The Janam Sakhis tell us about the different types of religious personalities Guru Nanak met and forms of worships in various parts of the land. The Gurus had intimate contacts with the Siddh yogis and the Sufis. Guru Granth Sahib has the wonderful recording of the encounters between Guru Nanak and the Siddhas. The encounters with Islam and Sufis are another interesting chapter in the annals of Sikhism. Guru Nanak could see the results of political patronisation of religion as well as the religion serving at the hands of the rulers. The Sufi thought as a mystic and internalised trend within Islam represented another variation of Siddha thought. The rich experiences of Guru Nanak help to work out a new religiosity in the name of Sikhism.
It was these musical, literary and devotional performances that established Sikh communities in far flung places, which then reciprocated with pilgrimages to the Sikh homeland in Punjab, which now also reverberated with local ragas derived from folk themes. This new culture was consolidated by the second Guru, Angad through formalization of the language, Gurmukhi, while new cities were established by successor Gurus. The third Guru, Amardas, it is thought, largely imported the hymns from like-minded Saints or Bhagats, as well as personally more than doubling the original number contributed by Guru Nanak in largely the same ragas. Sikh rites were established in the litany by the next two Gurus, Ramdas and Guru Arjan, who not only further increased the number of Ragas used, but also the number of folk balladic forms or Vars. Finally, the poetic and lyrical meters were compiled in Raga order by the fifth Guru Arjan, installed at the newly purpose built Golden Temple of Amritsar and later finalized and coronated as the Guru Anthology or Guru Granth Sahib itself. This ordering of the scripture and its elevation to the divine underlines the significance of the musical system, which needed to be distinctive to carry the new religion and is perhaps the most enduring outcome of the Udasis. The Sikh communities that resulted were sometimes sustained by the Manji organization of Guru Amardas, or the later Masands followed up by visits of later Gurus, and this task was eventually undertaken by the Khalsa, but sometimes also, temporarily or permanently these communities were scattered due to lack of critical mass or oppression. It was partly in self-defence, but also for the purposes of self-determination that it became necessary to create the Sikh Nation or Khalsa and for this reason the Holy Scriptures or Gurbani, and its Raga structure are preserved as original. Certainly, other sources of the writings of the Gurus or the Bhagats are prone to interpolation and lack authenticity. Again, as Dr. Mohan observes:
The Sikh Scripture of Guru Granth Sahib is not a text like the Bible or the Quran with mixed genres of prose, parables and poetry. Guru Granth Sahib is a book of songs that were composed in 31 ragas. The Sikh Gurus appropriate to their aim of revoking the nascent feelings of devotion have preferred the musical emotional form. In a sense, the hymns of the Gurus do not contain particular thematic ordering but are recited as creative outbursts. Nature, society, people of so many religious orders etc, are referred in Guru Granth Sahib. But describing the nature or society or religious orders is not the thematic motive of the Sikh Scripture. In the Guru Granth Sahib the Gurus are addressing and readdressing the divine again and again. The greatest originality of the Editorial work of Guru Granth Sahib is that the editors have not made any attempt to order the songs of the Gurus in theoretical or thematic row. The 31 chapters of the Guru Granth Sahib are the 31 ragas in which the hymns are composed. The hymns of the Gurus starting from Guru Nanak come first in the order and then the songs of Hindu Bhagats and Sufi saints. Every chapter-raga contains the same pattern. The most wonderful part of Sikh history is that for the last five hundred years of the existence of Sikhism in this land, the Sikhs have become Sikhs not by reading and learning Guru Granth Sahib as a religious text, but by reciting it in part or in full as a musical text. Having in mind the literacy rate of ordinary Sikhs in the past centuries, one can confidently say that the Sikhs inherited the faith for generations through listening or reciting the hymns of Guru Granth Sahib. The highly appealing mode of perception of the message of the Gurus has made the Sikhs intensely committed to their ideals.
It is noteworthy that this and every other recension of the Guru Granth Sahib, whether approved or otherwise, has an appendix called the Ragmala, which distinctively from the Ragmalas of Hindustani Schools describes the family or system of Ragas. The main author and complier of the Guru Anthology, Guru Arjan also formally initiated the training of a new school of musicians, or Ragis, those who would perform the Ragas as stipulated within it. After the martyrdom of Guru Arjan, whose only offence seems to be to cause chagrin to the political and religious establishment by the sheer genius of his achievements, it was inevitable that the succeeding Gurus would have to militarize against the Mughal regime. In any case, this was as per his own express instructions. However, while this command was executed with a vengeance by the sixth Guru, Hargobind, a new school of folk balladeers or Dhadis was patronized to intensify the performance of Vars, both from within the Granth but also in praise of the heroes who fell in the many battles that ensued as well as eulogizing the many contributors to the Gurbani. Not only had the Gurus by now introduced the three new aforementioned schools of musicians, but also introduced instruments such as the Rabab, Sarangi and Dhad, if not invented others outright, such as the Jori, more widely known as the Tabla. The tenth Guru, Gobind Singh would later compile the final recension of the Guru Granth Sahib, adding only his father’s, Guru Tegh Bahadur’s verses, including an entirely new raga, Jaijaiwanti, which was adopted by both the Hindustani and Carnatic Systems, as was the Tabla. He also introduced at least two new instruments, the stringed Taus and the Ranjit Nagara or war drum, after the martyrdom of his father, this time on behalf of the oppressed Hindu majority. He also not only composed Shabad Hazare, bearing a close resemblance to the Shabads of his father Guru, Tegh Bahadur but also Vars, Khayals, Taranas and voluminous historical verse recorded in the separate Dasam and Sarvaloh Granths.
The Unique Underpinning of ‘Ghar’ in Guru Granth Sahib
The percussive elements of Sikh musicology are represented by the concept of ‘Ghar’ which is used in the sub-ordering of compositions of the Gurus. No other musical system or literature uses the Ghar nomenclature. Its enveloping Raga and Ghar structures places the Guru Granth Sahib, as the Guru of a Gharana or musical system outside that of Hindustani or Carnatic Music, as well as the Guru of a People. Similarly, the Rahau and Pada terminology of the Raga compositions, which equate to the Asthai and Antara of Hindustani music, are yet distinct from it and unique to the Sikh school. The degree of sophistication of the Ghar concept further indicates that its main percussive instrument, Jori or Tabla, may itself have been created in the Court of Guru Arjan. This concept, which has been the subject of some unnecessary confusion recently, is simply outlined here:
For ease of discussion, the following definitions are given in terms of the mutually understood terms:
Khand- The interval of one musical bar
Sam-The first beat (Matra) of the first bar, marked ‘+’
Khali-Usually the minor beat in a minor Khand in -the middle of the Taal marked with a ‘o’ or hand wave
Taali-Usually the main beat (clap) at the start of a Khand, marked by number, excluding Sam or Khali, the highestest of which is known as the Ghar, unless the first beat is Khali, when it is subtracted by 1, as with Roopak Taal, see below.
Thus, Ghar is the total number of Major Khands (bars), i.e. total of Khands less the number of Minor Khands:
Examples of the main Ghar used in Gurbani and their relationship to Taal
Ghar 1:
a) Kehrava Taal;
Dha Ghi Na Ti | Na Ka Dhi Na |
+ o
b) Dadra Taal;
Dha Ge Na | Dha Tu Na |
+ o
Ghar 2: Roopak Taal;
Ti Ti Na | Dhi Na | Dhi Na |
o 2 3
Ghar 3:
a) Jhap Taal;
Di Na | Dhi Dhi Na| Ti Na | Dhi Dhi Na |
+ 2 o 3
b) Teen Taal;
Dha Dhin Dhin Da | Dha Dhin Dhin Da | Dha Tin Tin Ta | Ta Dhin Dhin Dha |
+ 2 o 3
Ghar 4:
a) Ek Taal;
Dhin Dhin | DhaGe TraKa | Tu Na | Kat Tin | DhaGe TraKa | Dhin Na |
+ o 2 o 3 4
b) Chautal;
Dha Dha | Din Ta | KITa Dha | Din Ta | KITa TaKa | GaDi GaNa |
+ o 2 o 3 4
Clearly, a Ghar can incorporate several Taals with the same or a different number of Matras. This makes possible the recital of Gurbani in Partaal. It is even possible to recite the same Shabad in different Ghar, with Taals using a common denominator of Matras. This represents percussion theory or Gharana, within Gurmat Sangeet, as practiced in the Sikh majority Punjab, but adopted by Sikhs throughout the Indian sub-continent and elsewhere in the Sikh diasporas globally.
Conclusion
Every Classical Music School of the Indian sub-continent, or Gharana, has either a distinctive Swar Pardhan, melodic style or a Taal Pardhan, percussive style. In Sikh musicology, both the melodic and percussive styles are separate from all the other schools of Hindustani and Carnatic Music and this distinctiveness is prescribed in none other than the Guru Granth Sahib itself, through its Raga and Ghar structures., practiced by the Ragis of the various Sikh Taksals. Eminent Bengali Musicologist Alka Pande [6], is of the opinion that these Taksals are analogous to the Gharanas of Hindustani Music.
Other, minor Gharanas within Hindustani or Carnatic systems focus on specific instruments. The Sikhs have some of their own too, the Rababis and the Dhadis, created out of the Sikh spiritual and temporal traditions, respectively. Significantly, the difference in style between the three musicology’s is the inclusion of populist or folk themes of the Sikh homeland, largely absent from the other two, which instead enjoyed state patronage.
References
[1] Japji, Guru Nanak, Guru Granth Sahib (1)
[2] Baburvani, Guru Nanak, Guru Granth Sahib (722)
[3] Var Asa, Guru Nanak, Guru Granth Sahib (471)
[4] Papal Brief of 1518, Leo-X, Ufficio Scavi, Vatican, Rome, March 2, 2013.
[5] Sikhs and Tamils: The Indus Connection, Dr N Muthu Mohan, http://tamilnation.co/heritage/sikh.htm
[6] Folk Music & Musical Instruments of Punjab, Alka Pande, ISBN-13: 978-1890206154, 2006.
ਰਾਗ-ਬਾਣੀ
ਸਿੱਖ ਸੰਗੀਤ ਦੇ ਇਤਹਾਸ ਅੰਦਰ 3 ਕਿਸਮਾਂ ਦੇ ਸੰਗੀਤਕਾਰ, ਰਬਾਬੀ, ਰਾਗੀ ਅਤੇ ਢਾਡੀ ਸਨ। ਰਬਾਬੀਆਂ ਦੀ ਸ਼ਰੂਆਤ ਭਾਈ ਮਰਦਾਨੇ ਜੀ ਤੋਂ ਹੀ ਮੰਨੀ ਜਾਂਦੀ ਹੈ, ਜਦੋਂ ਗੁਰੂ ਨਾਨਕ ਜੀ ਨੇ ਇਨ੍ਹਾਂ ਨੂੰ ਅਾਪਣਾ ਪਹਿਲਾ ਸਿੱਖ ਨਿਵਾਜ ਕੇ ਮਿਰਾਸੀਆਂ ਵਿੱਚੋਂ ਰਬਾਬੀ ਨਿਵਾਜੇ । ਭਾਈ ਮਰਦਾਨੇ ਜੀ ਦੀ ਵੰਸ਼ ਵਿੱਚੋਂ ਹੀ ਭਾਈ ਸ਼ਾਹਜ਼ਾਦਾ ਨੇ ਇਸ ਪਰੰਪਰਾ ਨੂੰ ਜਾਰ੍ਹੀ ਰੱਖਿਆ ਅਤੇ ਭਾਈ ਮਰਦਾਨੇ ਜੀ ਦੀ ਮਿਸਾਲ `ਤੇ ਭਾਈ ਸੱਤਾ ਜੀ ਅਤੇ ਭਾਈ ਬਲਵੰਡ ਜੀ ਨੇ ਵੀ ਰਾਮਕਲੀ ਰਾਗ ਵਿੱਚ ਬਾਣੀ ਰਚੀ। ਇਸੇ ਤਰਾਂ ਗੁਰਬਾਣੀ ਰਚਣ ਵਾਲੇ ਭੱਟ ਵੀ ਰਾਗਾਂ ਵਿੱਚ ਦਰਜ ਆਦਿ ਗ੍ਰੰਥ ਦੀ ਬਾਣੀ ਨੂੰ ਉਚਾਰ ਕੇ ਪਹਿਲੇ ਰਾਗੀ ਬਣੇ। ਸ਼ਹੀਦਾਂ ਦੇ ਸਰਤਾਜ ਗੁਰੂ ਅਰਜਨ ਜੀ ਦੀ ਸ਼ਹੀਦੀ ਦੇ ਬਾਵਜੂਦ ਸਿੱਖ ਸੰਘਰਸ਼ ਨੇ ਹਮੇਸ਼ਾਂ ਲਈ ਹਥਿਆਰਬੰਧ ਰੂਪ ਧਾਰ ਲਿਆ, ਜਿਸ ਕਾਰਨ ਮੀਰੀ-ਪੀਰੀ ਦੇ ਮਾਲਕ, ਗੁੁਰੂ ਹਰਿਗੋਬਿੰਦ ਜੀ ਨੇ ਢਾਡੀ ਵਾਰਾਂ ਗਾਉਣ ਲਈ ਇਕ ਅਲੱਗ ਪਰੰਪਰਾ ਚਲਾਈ, ਜਿਸ ਦੇ ਮਾਹਿਰ ਭਾਈ ਮੀਰ ਅਬਦੁੱਲਾ ਜੀ ਅਤੇ ਭਾਈ ਨਾਥ ਮਲ ਜੀ ਸਨ। ਤਿਲਕ ਜੰਝੂੂ ਦੇ ਰਾਖੇ ਗੁਰੂ ਤੇਗ਼ ਬਹਾਦਰ ਜੀ ਦੀ ਸ਼ਹੀਦੀ ਤੋਂ ਬਾਅਦ ਦਸਮੇਸ਼ ਪਾਤਸ਼ਾਹ ਦੇ ਦਰਬਾਰ ਦੇ ਧਰਮ ਜੁੱਧ ਦੇ ਚਾਹਵਾਨ ਖਾਲਸਾਈ ਇੰਕਿਲਾਬ ਦੇ ਆਉਣ ਨਾਲ, ਇਹ ਪਰੰਪਰਾ ਵਧੇਰੇ ਮਕਬੂਲ ਹੋਈ। ਅੱਜ ਦੇ ਕਲਾਕਾਰ, ਭਾਵੇਂ ਕਿਸੇ ਵੀ ਇਨ੍ਹਾਂ ਪਰੰਪਰਾ ਨਾਲ ਸੰਬਧਤ ਹਨ, ਰਾਗ ਅਤੇ ਲੋਕ ਸ਼ੈਲੀਆਂ ਦੋਹਾਂ`ਚ ਹੀ ਗਾਉਂਦੇ ਹਨ। ਇਨ੍ਹਾਂ ਦੇ ਪ੍ਰਮਾਣ ਗੁਰਬਾਣੀ ਰਾਗਾਂ ਦੇ ਤਰਤੀਬ [1,2,..] ਅਤੇ ਦਸਮ ਬਾਣੀ ਨੂੰ ਲੋਕ ਸ਼ੈਲੀ ਵਿੱਚ [a,b,..], ਰਾਗੀ ਭਾਈ ਬਲਦੇਵ ਸਿੰਘ ਜੀ ਨੇ ਹੇਠ ਹਾਜ਼ਰ ਕੀਤੇ ਹਨ।
Raag-Bani
According to tradition, there are three types of Sikh musicians – Rababis, Ragis, and Dhadhis. Guru Nanak originated the Rababi tradition by engaging Bhai Mardana as the first Sikh/Rababi. These musicians were called Mirasis, but Guru Nanak gave them a new name – Rababis, because having adopted Sikh musicology, they performed on the Rabab. Some of the notable Rababis after Mardana were his son Shahjada, Satta and Balwand, their sons Babak and Chatra, respectively, the son of Babak, etc. As with Mardana, Satta and Balwand also contributed compositions to the Sikh scripture, the Adi Granth, compiled by Guru Arjan, who also included compositions from the Bhatts, who became the first Ragis, as they performed to the Raga’s and Tala’s of the Guru’s Anthology. After the Guru’s martyrdom, the first in Sikh history, Sikhism also became an armed struggle, mainly against the oppression of Dehli. Guru Har-Gobind built a throne, Akal Takht, near to the Darbar Sahib or Golden Temple, Amritsar, built by his Father, Guru Arjan, in direct opposition to the Indian capital, Dehli, and installed a third group of musicians, Dhadis, to sing both the Scriptures and newly composed war poetry in local folk meter using Dhad and Sarangi. The original exponents of this art at the Sikh Court were Mir Abdullah and Nath Mal. All three traditions continue to the present day, with the latter given further impetus by the war poetry in Gurmukhi vernacular by Guru Gobind Singh, in a second Scripture known as the Dasam Granth, having finalized the composition of the original Scripture in the form of the Guru Granth Sahib, with the addition of his Father, Guru Tegh Bahadur’s stanzas penned before His unique martyrdom in Dehli. Today, most artists perform in popular light classical or folk styles, often combining the traditions. Examples of each style follow, in which the Raga’s [1], [2], etc. are listed in the order they appear in the Guru Granth Sahib, while the folk items from the Dasam Granth are lettered as [a], [b], etc.
[1] Asa [2] Gujri [3] Gauri Deepki [4] Dhanasri [5] Gauri Purbi
[a] Khalsa so [b] Inhi ki kripa [c] Pargatio Khalsa [d] Dokhan dekhat [e] Rehni rahe [f] Khalsa meri jaan [g] Raj Karega Khalsa