mIT` l`gY - Guru Gobind Singh Study Circle

soothing effects of music on certain nervous and mental diseases.
Bhai Gurdas condemned such pleasure derived from hearing music
devoid of the Love of Almighty :
We should not hear Godless music.
It does not produce any happiness.
Guru Arjan Dev directs the community :
God's praises do thou sing.
O' man ! day and night.
This is the fruitful evocation of life. (SGGS, P-108.)
Obviously , a Bhakta makes five virtues like contentment his musical
instruments and walking in the Lord's Love his seven notes.
"To utter Lord's discourse and praise
And to hear the resounding of His melodious music.
Thus has become the aim of my life. ( SGGS, P-818)
Congregational music is a permanent feature of the Sikh form of
worship. Divine Music has a regular place in the programes of Sikh
Sangat.
A Bhakta yearns for such inner state wherein he wishes :
" O my tongue, sing thou the praise of Lord.
O' my soul, many a time make thou obeisance unto the Saints.
(SGGS, P-1298)
In such state, a Bhakta Cherishes the blessings of The Lord when his
entire thirst is quenched.
Guru Arjan Dev in Rag Sorath defines such state :
Singing of God's praise in the saint's society
is the highest of all the deeds. (SGGS, P.642)
Obviously, Sri Guru Arjan Dev in his compositions manifest the
power of music and proved that it could create a direct link between man
and God.
Music is a priceless jewel;
it produces unfathomable joy;
It is full of Beauty. (Gaudi : SGGS)
Guru Arjan Dev believed that Divine Music is better than all the
difficult breathing exercises and physical poses which Indian yogis adopt
to obtain union with God. Guru Arjan Dev preferred religious music to all
other religious practices.
"The Royal pomp and show thy name has made,
I attain to yoga by singing thine praises. ( SGGS, P-385)
Recitation of the holy scriptures forms a significant part of the Sikh
devotional life. But in congregations Divine Music is always preferred to
mere recitation. Music is like rain water which blesses the whole of
country side.
That bard is blessed who longs to sing the praises of the Lord.
And within his mind he keeps enshrined
The Lord's Love.
Meritorious is that praise, who enshrines affection for his Lord.
(SGGS, P-962)
Guru Arjan Dev adopted 30 Ragas & Raginis, besides Dhunis and Ghar
on the basis of folk music in his Composition and avoided such Ragas
which were either extremely joyful or extremely Melan cholic such as
June 2006
Hindol or Deepak. These 30
ragas are : Sri, Majh, Gaudi,
Aasa, Gujari, Dev Gandhari,
Bihagra, Vadhans, Sorath,
Dhanasari, Jaitsari, Todi,
Bairarhi, Tilang, Suhi,
Bilawal, Gaund, Ramkali,
Natt, Mali Gaura, Maru,
Tukhari, Kedara, Bhairo,
Basant, Sarang, Kanrha,
Malar, Kalyan, Parbhati, The
Flow of the raga in his bani is
incessant and thus the
rhythm remains intact.
The very mention of
musical instruments in Sri
Guru Granth Sahib (such as
Rabab, Veena, Vaja, Jant, Tur,
Kingri, SInghi, Murli,
Pakhawaj, Mridang, Dholak,
Majir, Ghungroo, Naad etc.)
ascertain the fact that these
instruments were used while
reciting Kirtan.
Guru Arjan Dev
popularized Parhtal Gaiki and
he himself used to play veena
(Siranda) while reciting
Kirtan.
Music in the Bani of Guru
Arjan Dev imparts peace of
mind and greatly helps in
concentrating the listener's
attention on the spiritual
truths conveyed by the words
and themes that form its
basis. Whereas Guru Nanak
Dev introduced such persian
melodies as Kafi, Tukhari and
Dakhna among the Sikhs,
Guru Arjan Dev introduced
Cauki or Quartet system of
persian music. Apparently,
Guru Arjan Dev brought a
new turn to the old classical
Indian music and introduced
Sikh school of music,
distinguishing it from the
other Indian schools in vogue
during that period.
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