Gurmat sangeet, Punjab’s musical heritage

GURMAT sangeet is a global genre of music. This tradition emerges as a harmonious combination of classical and folk traditions of Hindustani, Carnatic and Persian music. The idea of the shabad-kirtan tradition of gurmat sangeet is to spread beatitude among all souls through its divine nature.

Gurmat sangeet is a unique musical tradition in which the divine message is communicated through shabad-kirtan, which is an inseparable part of the Sikh way of life. The kirtan-chauki tradition is more in vogue in gurdwaras and the kirtan tradition, practised on special occasions, is an extended form of this institution. This practical kirtan tradition is in accordance with the concept of Shabad Guru as conveyed by Granth Sahib.

The bani of Granth Sahib, written and indexed according to the prescribed ragas, singing forms, headings and other guidelines issued in the bani, creates original and specific musicology. A scientific approach to music can help in recognising more explicitly the music tradition according to Granth Sahib.

The system of music enshrined in Granth Sahib is exactly in accordance with the musical tenets established by the Gurus. What came to be known as gur shabad kirtan is a unique confluence of shabad and kirtan propounded by the founder of Sikhism, Guru Nanak Dev, with the help of divine music emanating from Bhai Mardana’s rabab. This emerged as a unique system in the Indian and world music tradition. In bani, gur shabad kirtan has been assigned a very prominent status. (Granth Sahib, page 1075)

Granth Sahib contains the bani of the Gurus in addition to the bani of contemporary and earlier saints and bhagats. The classification of bani according to ragas makes it clear that bani is written in accordance with a particular system as conceived by Guru Arjan Dev, the fifth Guru, while compiling and editing Granth Sahib.

Besides the ragas, different classical and folk singing styles, rahao and other music signs are elements of the gurmat music system which always remain active due to their original musical characteristics and for the presentation of shabad-kirtan. Bani under shabad-kirtan is to be sung according to the prescribed ragas, raga forms, singing styles, music signs, rahao, ank (digit), etc. Different music elements that govern shabad-kirtan can be understood through an independent systematic discussion about them and their functional aspect may become clearer through systematic thought.

The whole bani of Granth Sahib has been classified under 31 ragas and 31 different raga forms (parkaars), thus making a total of 62. Raga markings in Gurbani as heading are an indication for singing a particular piece of Gurbani according to a prescribed raga that has been ordained in Sikh traditions. (Granth Sahib pages 697, 821, 958, 1423)

Many ragas in the gurmat sangeet tradition are original melodic forms. This is a tradition that is more than 500 years old. These original raga forms of gurmat sangeet are a unique contribution to Indian music’s raga tradition.

Bani has different headings on it along with ragas such as Ashtpadian, Chaupade, Ghorian, Alahunian, Vaar, etc., in Granth Sahib. Under the bani arrangement these forms not only assume poetical forms but specific singing styles.

In Granth Sahib, the digits have been marked at different places, viz. 1, 2, 3, 4, etc., as ank. In addition to the signs like rahao, bani has been divided through different digits. Under the gurmat sangeet shabad-kirtan, rahao is taken as sthaaee and the tradition is to sing it repeatedly after every antra because the rahao line has the central idea of the shabad.

In addition to the rahao, gurmat sangeet has other musical signs such as ghar, jati, dhuni, sudhang, etc. Out of the 22 vaaras included in Granth Sahib, nine have different dhuni headings such as Tunde us raajai kee dhunee, Malik mureed tathaa chandarharhaa sohee-e kee dhunee. These dhuni headings are special features of the ballad singing style used for the heroic deeds of the warriors. In addition to their importance in Gurbani, they have great significance for Hindustani music. These headings also provide a new formulation for the division of Indian music into Hindustani and Caranatic systems. In the landscape of North-Indian music tradition, Punjab’s tradition emerges as a central source.

According to the Sikh tradition of music, a complete and specific form of shabad-kirtan is called kirtan chauki. Original kirtan chauki tradition of gurmat sangeet was started in the period of Guru Nanak, developed and propagated by all Sikh Gurus. 

The Sikh Gurus also chose special musical instruments. The rabab was played by Bhai Mardana during Guru Nanak’s time, Siranda during the times of Guru Amar Dass and Guru Ram Dass, Siranda and Israj during the period of Guru Arjan Dev. The taus and dhad-sarangi were played for vaar singing during the period of the sixth Guru, the mirdang during the ninth Guru’s time, and the tanpura during Guru Gobind Singh’s time. These were peculiar to the tradition, which proves the use of special musical instruments. These special instruments are also used in an original way. The tanti (stringed) instruments are especially useful for purity of notes of the ragas and traditional excellence of Gur Shabad Kirtan.

Sikh history bears testimony to the fact that after second Udasi, Guru Nanak set up Sikh dharamsala (gurdwara) as an institution, where the tradition of kirtan started by the Guru was specially reiterated. Historical references make it clear that Gurbani was sung twice a day in the morning and evening at Kartarpur. Guru Angad Dev founded Khadoor Sahib and continued with the Kartarpuri standard tradition. Besides, Bhai Sehjad and Bhai Saddu and Maddu were also famous rababis at the Guru’s abode. Guru Amar Das founded Goindwal as a special centre for the propagation of Sikhism. Gurmat sangeet was also popularised at Sikh congregations.

Guru Arjan Dev took on the responsibility of developing the gurmat sangeet tradition on firm footing. By this time Harmandar Sahib had been founded at Amritsar where shabad-kirtan was sung continuously in different kirtan chaukis. At this centre, where the rababi kirtan tradition emerged in a distinct form, common Sikhs were also encouraged to perform kirtan.

After Guru Arjan Dev, Guru Hargobind started with vaar music by dhadis along with kirtan. Guru Har Rai and Guru Har Krishan further propagated the gurmat sangeet tradition. Anandpur Sahib was founded by Guru Teg Bahadur and made traditional kirtan an inseparable part of practical tradition. Bhai Saddu and Maddu were the famous kirtan performers at this great Sikh centre.

In the contemporary gurmat sangeet tradition some prominent taksals and institutions are Damdama Sahib Taksal, Budha Jor Taksal, Mastuana Taksal, Tarn Taran Taksal, Damdami Taksal, Daudhar Taksal, Singhwala Taksal, Hargana Taksal, Sewa Panthi Taksal, Dumali Taksal, Jawadi Kalan Taksal and Namdhari Taksal, etc.

(By a well known author)

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